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"title": "7 Takeaways From the Train-Station Oscars",
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"content": "\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=7+Takeaways+From+The+Train-Station+Oscars&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>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Falcon and the Winter Soldier' Finale Makes a Poignant Reveal",
"headTitle": "‘The Falcon and the Winter Soldier’ Finale Makes a Poignant Reveal | KQED",
"content": "\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>[aside postid='arts_13891309']The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>[aside postid='arts_13894194']This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>[aside postid='arts_13866218']I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"headTitle": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"content": "\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p69lEMn0I8k\u003c/p>\n\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H9ePdk29rVI\u003c/p>\n\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9pyBKj5-jVk\u003c/p>\n\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYj-7IrjC4c\u003c/p>\n\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAK8Cd4t0WA\u003c/p>\n\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vCzaxunme7I\u003c/p>\n\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p69lEMn0I8k'\n title='//www.youtube.com/embed/p69lEMn0I8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\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/H9ePdk29rVI'\n title='//www.youtube.com/embed/H9ePdk29rVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\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/9pyBKj5-jVk'\n title='//www.youtube.com/embed/9pyBKj5-jVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\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/WYj-7IrjC4c'\n title='//www.youtube.com/embed/WYj-7IrjC4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\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/OAK8Cd4t0WA'\n title='//www.youtube.com/embed/OAK8Cd4t0WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\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/vCzaxunme7I'\n title='//www.youtube.com/embed/vCzaxunme7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\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/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hulu’s ‘Sasquatch’ Doc Captures the Fear and Loathing Behind Mendocino Folklore",
"headTitle": "Hulu’s ‘Sasquatch’ Doc Captures the Fear and Loathing Behind Mendocino Folklore | KQED",
"content": "\u003cp>On the face of it, new Hulu documentary \u003cem>Sasquatch\u003c/em> is about the mythical mountain creature and whether or not it murders people on pot farms in Northern California. Once you get into it, the three-part series is far more concerned with the underworld that operates in the so-called Emerald Triangle—Mendocino, Humboldt and Trinity counties. But at its core, \u003cem>Sasquatch\u003c/em> is about the dark heart of rural Northern California and the lore that springs up out of it.\u003c/p>\n\u003cp>I have written about strange things afoot in the mountains before. I \u003ca href=\"https://www.kqed.org/arts/13892672/meet-the-ghosts-who-haunt-the-100-year-old-dew-drop-inn\" target=\"_blank\" rel=\"noopener noreferrer\">chased ghosts in Grass Valley\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13886018/a-wild-monkey-chase-do-ken-keseys-lsd-dosed-apes-still-roam-la-honda\" target=\"_blank\" rel=\"noopener noreferrer\">LSD-addled monkeys in La Honda\u003c/a>. And on both occasions, I found zero skeptics living in the communities concerned. Documentarian David Holthouse notices this himself in the very first episode of \u003cem>Sasquatch\u003c/em>. “There’s a current of belief in supernatural forces,” he says of rural Northern California, “that runs deeper up here than in most places.”\u003c/p>\n\u003cp>Holthouse’s series is born from an incident he witnessed on a friend’s remote pot farm in the fall of 1993. One evening, his friend’s cabin was visited by two men, one of whom was visibly frantic. The men said they had just found “three bodies on a pot farm that were mutilated, mangled, torn to pieces.” And they believed wholeheartedly, “that a sasquatch had done it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G8pVypMhub8\u003c/p>\n\u003cp>Over the course of the series, Holthouse does his best to get to the bottom of the mystery. And, remarkably, he succeeds in arriving at a reasonably satisfying conclusion. On his journey to doing that, he explores how lore is often born from a human desire to make sense of fear. “Monsters aren’t born, they’re made,” notes interview subject Brian Regal, author of \u003cem>Searching For Sasquatch.\u003c/em> “We make them. All of our monsters are human-made. We make them out of the things we’re afraid of; we make them out of the things we hate … It’s a human coping mechanism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Real-life human horror is not hard to find in \u003cem>Sasquatch\u003c/em>. It’s in the lawlessness that exists in the most remote parts of California. It’s in an engulfing paranoia that entire livelihoods could be lost overnight to government and police intervention. And it’s in the countless disappeared people who flock to the region to cash in on the marijuana farms. (“The rate of missing persons cases in Mendocino County and all throughout the Emerald Triangle is, per capita, the highest in the United States by far,” Holthouse reports.)\u003c/p>\n\u003cp>Razor, a former Emerald Triangle cannabis farmer who operated in the ’90s, backs up the theory that monster mythology is often born from real, personal terror. “I feel like all the sasquatch stories I ever heard emanate from that traumatic feeling of like, ‘I might not belong here and something is going to take me out,’” he says. “Someone doesn’t have to be a methamphetamine addict to be out in the woods maybe too long; traumatized by being out there and fearing for their lives.”\u003c/p>\n\u003cp>Despite its title,\u003cem> Sasquatch\u003c/em> is more about the harsh realities of criminal underworlds operating on the margins than it is about Bigfoot legends. At times, the show’s juxtaposition of evasive, hardcore criminals and enthusiastic sasquatch investigators is both jarring and borderline absurd. But only by combining the two does one get a true snapshot of the expanse of peculiarities specific to these Northern California communities. The threads that run between them are the rumors, tall tales and false accusations that spread like wildfire across small towns.\u003c/p>\n\u003cp>[aside postid='arts_13892672']But there is something else lurking in the mountains of Northern California. It is a darkness that appears to have seeped into the very land. And you have to experience it in order to understand its cumulative and insidious effects on small communities. Netflix’s five-part documentary series \u003cem>Murder Mountain\u003c/em> tried in many ways to capture that atmosphere, but it never quite hit the mark. \u003cem>Sasquatch\u003c/em> gets much, much closer—thanks in great part to an unlikely philosopher, Razor.\u003c/p>\n\u003cp>“When the gold fields of California opened up,” he notes, “it wasn’t the best and brightest that came to pan for gold. It was people trying to extricate a high profit for a little amount of work. The same thing happened with growing cannabis … That darkness from the [gold] mining camps, and from the first logging camps that took the land away from the Indigenous people. That trauma never stopped, and it just snowballed into trauma for everybody who’s come since then. It gets paved over and painted over and developed over, but in the more rural areas, it’s there. You can feel it. I don’t think you can stop it or erase it at this point.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only is Razor right, but the rest of \u003cem>Sasquatch\u003c/em> doubles down on the idea that, when it comes to the Emerald Triangle, there is far more to be afraid of than Bigfoot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, new Hulu documentary \u003cem>Sasquatch\u003c/em> is about the mythical mountain creature and whether or not it murders people on pot farms in Northern California. Once you get into it, the three-part series is far more concerned with the underworld that operates in the so-called Emerald Triangle—Mendocino, Humboldt and Trinity counties. But at its core, \u003cem>Sasquatch\u003c/em> is about the dark heart of rural Northern California and the lore that springs up out of it.\u003c/p>\n\u003cp>I have written about strange things afoot in the mountains before. I \u003ca href=\"https://www.kqed.org/arts/13892672/meet-the-ghosts-who-haunt-the-100-year-old-dew-drop-inn\" target=\"_blank\" rel=\"noopener noreferrer\">chased ghosts in Grass Valley\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13886018/a-wild-monkey-chase-do-ken-keseys-lsd-dosed-apes-still-roam-la-honda\" target=\"_blank\" rel=\"noopener noreferrer\">LSD-addled monkeys in La Honda\u003c/a>. And on both occasions, I found zero skeptics living in the communities concerned. Documentarian David Holthouse notices this himself in the very first episode of \u003cem>Sasquatch\u003c/em>. “There’s a current of belief in supernatural forces,” he says of rural Northern California, “that runs deeper up here than in most places.”\u003c/p>\n\u003cp>Holthouse’s series is born from an incident he witnessed on a friend’s remote pot farm in the fall of 1993. One evening, his friend’s cabin was visited by two men, one of whom was visibly frantic. The men said they had just found “three bodies on a pot farm that were mutilated, mangled, torn to pieces.” And they believed wholeheartedly, “that a sasquatch had done it.”\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/G8pVypMhub8'\n title='//www.youtube.com/embed/G8pVypMhub8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the course of the series, Holthouse does his best to get to the bottom of the mystery. And, remarkably, he succeeds in arriving at a reasonably satisfying conclusion. On his journey to doing that, he explores how lore is often born from a human desire to make sense of fear. “Monsters aren’t born, they’re made,” notes interview subject Brian Regal, author of \u003cem>Searching For Sasquatch.\u003c/em> “We make them. All of our monsters are human-made. We make them out of the things we’re afraid of; we make them out of the things we hate … It’s a human coping mechanism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Real-life human horror is not hard to find in \u003cem>Sasquatch\u003c/em>. It’s in the lawlessness that exists in the most remote parts of California. It’s in an engulfing paranoia that entire livelihoods could be lost overnight to government and police intervention. And it’s in the countless disappeared people who flock to the region to cash in on the marijuana farms. (“The rate of missing persons cases in Mendocino County and all throughout the Emerald Triangle is, per capita, the highest in the United States by far,” Holthouse reports.)\u003c/p>\n\u003cp>Razor, a former Emerald Triangle cannabis farmer who operated in the ’90s, backs up the theory that monster mythology is often born from real, personal terror. “I feel like all the sasquatch stories I ever heard emanate from that traumatic feeling of like, ‘I might not belong here and something is going to take me out,’” he says. “Someone doesn’t have to be a methamphetamine addict to be out in the woods maybe too long; traumatized by being out there and fearing for their lives.”\u003c/p>\n\u003cp>Despite its title,\u003cem> Sasquatch\u003c/em> is more about the harsh realities of criminal underworlds operating on the margins than it is about Bigfoot legends. At times, the show’s juxtaposition of evasive, hardcore criminals and enthusiastic sasquatch investigators is both jarring and borderline absurd. But only by combining the two does one get a true snapshot of the expanse of peculiarities specific to these Northern California communities. The threads that run between them are the rumors, tall tales and false accusations that spread like wildfire across small towns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there is something else lurking in the mountains of Northern California. It is a darkness that appears to have seeped into the very land. And you have to experience it in order to understand its cumulative and insidious effects on small communities. Netflix’s five-part documentary series \u003cem>Murder Mountain\u003c/em> tried in many ways to capture that atmosphere, but it never quite hit the mark. \u003cem>Sasquatch\u003c/em> gets much, much closer—thanks in great part to an unlikely philosopher, Razor.\u003c/p>\n\u003cp>“When the gold fields of California opened up,” he notes, “it wasn’t the best and brightest that came to pan for gold. It was people trying to extricate a high profit for a little amount of work. The same thing happened with growing cannabis … That darkness from the [gold] mining camps, and from the first logging camps that took the land away from the Indigenous people. That trauma never stopped, and it just snowballed into trauma for everybody who’s come since then. It gets paved over and painted over and developed over, but in the more rural areas, it’s there. You can feel it. I don’t think you can stop it or erase it at this point.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only is Razor right, but the rest of \u003cem>Sasquatch\u003c/em> doubles down on the idea that, when it comes to the Emerald Triangle, there is far more to be afraid of than Bigfoot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hundreds of Fyre Festival Ticket Holders Poised to Win Payout in Class-Action Suit",
"headTitle": "Hundreds of Fyre Festival Ticket Holders Poised to Win Payout in Class-Action Suit | KQED",
"content": "\u003cp>Attendees of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">infamous Fyre Festival\u003c/a> didn’t exactly get what they paid for in 2017, when they arrived in the Bahamas for a luxury music festival only to find themselves stranded without basic provisions, let alone first-class accommodations.\u003c/p>\n\u003cp>Some four years later, hundreds of ticket holders are poised to receive more than $7,000 each after settling a class-action lawsuit with event organizers.\u003c/p>\n\u003cp>The settlement was reached Tuesday in U.S. Bankruptcy Court in the Southern District of New York, court documents show, with an early May deadline to object. The plaintiff is named as Gregory Messer, the Chapter 7 trustee of the estate of Fyre Festival LLC.\u003c/p>\n\u003cp>[aside postid='pop_108743'] It adds up to $2 million, and was announced as part of the festival’s ongoing bankruptcy proceedings. As it stands, the \u003ca href=\"https://www.nytimes.com/2021/04/15/arts/music/fyre-festival-settlement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> reports, 277 ticket holders will each receive a payout of $7,220, with an approval hearing scheduled for May 13. (The exact amount of the payout may change depending on how ongoing bankruptcy proceedings progress.)\u003c/p>\n\u003cp>“Billy [McFarland] went to jail, ticket holders can get some money back, and some very entertaining documentaries were made,” Ben Meiselas, a partner at California-based Geragos & Geragos who represented the ticket holders, told \u003cem>the Times\u003c/em>. “Now that’s justice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7_omekVr9fE\u003c/p>\n\u003cp>Indeed, the 2017 festival-that-wasn’t has left a trail of lawsuits, criminal charges and \u003ca href=\"https://www.npr.org/2019/01/18/686262708/fighting-fyre-with-fyre-fraud-two-documentaries-about-the-same-disaster\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic documentaries\u003c/a> in its wake.\u003c/p>\n\u003cp>McFarland, who organized and promoted the event, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">pled guilty\u003c/a> in 2018 to two counts of wire fraud related to the festival. He was \u003ca href=\"https://www.justice.gov/usao-sdny/pr/william-mcfarland-sentenced-6-years-prison-manhattan-federal-court-engaging-multiple\" target=\"_blank\" rel=\"noopener noreferrer\">sentenced\u003c/a> to six years in prison and three on probation for engaging in what prosecutors described as “multiple fraudulent schemes” and making false statements to law enforcement.\u003c/p>\n\u003cp>McFarland and his company, Fyre Media, have faced some \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">dozen\u003c/a> lawsuits in the festival’s aftermath. As NPR \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in 2018:\u003c/p>\n\u003cblockquote>\u003cp>McFarland had hawked a “life-changing,” paradisiacal music festival for well-heeled patrons intended to take place in the Bahamas in late April and early May 2017. Instead, the festival—which carried ticket prices of up to $12,000 apiece—collapsed in chaos, launching a parade of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">#dumpsterfyre\u003c/a> jokes and scads of schadenfreudic social media commentary, as hopeful festival-goers and vendors alike realized that they had been bilked.\u003c/p>\u003c/blockquote>\n\u003cp>Organizers offered an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> in the immediate wake of the event, admitting it “fell dramatically short of even the most modest expectations” and providing a form attendees could fill out to apply for a refund.\u003c/p>\n\u003cp>But for many, a refund was not enough.\u003c/p>\n\u003cp>The original class-action suit was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">filed in April 2017\u003c/a> against Fyre Media, McFarland and rapper Ja Rule, who was advertised as the festival’s co-founder, and sought $100 million in damages. The plaintiff is named as Daniel Jung, acting individually and as a representative of “a class of similarly-situated persons.”\u003c/p>\n\u003cp>The 21-page \u003ca href=\"https://www.documentcloud.org/documents/3688226-Fyre-Fest-Lawsuit.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> said refunds were inadequate, writing, “Class Members’ damages in being lured to a deserted island and left to fend for themselves—a situation tantamount to false imprisonment—exceed the face value of their ticket packages by many orders of magnitude.”\u003c/p>\n\u003cp>It accuses organizers of knowingly lying about the festival’s accommodations and safety, reaching out to celebrities and performers to discourage them from coming while continuing to sell ticket packages, which started at $1,200.\u003c/p>\n\u003cp>The festival was promoted—including by many \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\">social media influencers\u003c/a>—as a posh musical festival on a private island once owned by drug kingpin Pablo Escobar, complete with luxurious accommodations and first-class culinary experiences.\u003c/p>\n\u003cp>Instead, attendees arrived to find unsecured FEMA tents, \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">widely panned\u003c/a> food rations and no festival or medical staff to offer assistance. The island was neither private nor formerly owned by Escobar, attorneys noted.\u003c/p>\n\u003cp>[aside postid='arts_13148571'] “The festival’s lack of adequate food, water, shelter and medical care created a dangerous and panicked situation among attendees—suddenly finding themselves stranded on a remote island without basic provisions—that was closer to \u003cem>The Hunger Games\u003c/em> or \u003cem>Lord of the Flies\u003c/em> than Coachella,” they wrote, adding that efforts to escape were hampered by attendees’ reliance on organizers for transportation and the fact that the event had been billed as “cashless.”\u003c/p>\n\u003cp>Several other lawsuits involving the failed festival have been settled already.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2018, a North Carolina judge awarded \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">$5 million in damages\u003c/a> to two attendees who had sued McFarland; Ja Rule was initially named in that suit but was removed from the claim after settling with the two. And last May, \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\" target=\"_blank\" rel=\"noopener noreferrer\">Kendall Jenner\u003c/a> agreed to pay $90,000 for promoting the festival in a social media post.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Hundreds+Of+Fyre+Festival+Ticket+Holders+Poised+To+Win+Payout+In+Class-Action+Suit+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A class-action settlement will award 277 ticket holders more than $7,000 each, pending a judge's approval in May. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">infamous Fyre Festival\u003c/a> didn’t exactly get what they paid for in 2017, when they arrived in the Bahamas for a luxury music festival only to find themselves stranded without basic provisions, let alone first-class accommodations.\u003c/p>\n\u003cp>Some four years later, hundreds of ticket holders are poised to receive more than $7,000 each after settling a class-action lawsuit with event organizers.\u003c/p>\n\u003cp>The settlement was reached Tuesday in U.S. Bankruptcy Court in the Southern District of New York, court documents show, with an early May deadline to object. The plaintiff is named as Gregory Messer, the Chapter 7 trustee of the estate of Fyre Festival LLC.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> It adds up to $2 million, and was announced as part of the festival’s ongoing bankruptcy proceedings. As it stands, the \u003ca href=\"https://www.nytimes.com/2021/04/15/arts/music/fyre-festival-settlement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> reports, 277 ticket holders will each receive a payout of $7,220, with an approval hearing scheduled for May 13. (The exact amount of the payout may change depending on how ongoing bankruptcy proceedings progress.)\u003c/p>\n\u003cp>“Billy [McFarland] went to jail, ticket holders can get some money back, and some very entertaining documentaries were made,” Ben Meiselas, a partner at California-based Geragos & Geragos who represented the ticket holders, told \u003cem>the Times\u003c/em>. “Now that’s justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7_omekVr9fE'\n title='//www.youtube.com/embed/7_omekVr9fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, the 2017 festival-that-wasn’t has left a trail of lawsuits, criminal charges and \u003ca href=\"https://www.npr.org/2019/01/18/686262708/fighting-fyre-with-fyre-fraud-two-documentaries-about-the-same-disaster\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic documentaries\u003c/a> in its wake.\u003c/p>\n\u003cp>McFarland, who organized and promoted the event, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">pled guilty\u003c/a> in 2018 to two counts of wire fraud related to the festival. He was \u003ca href=\"https://www.justice.gov/usao-sdny/pr/william-mcfarland-sentenced-6-years-prison-manhattan-federal-court-engaging-multiple\" target=\"_blank\" rel=\"noopener noreferrer\">sentenced\u003c/a> to six years in prison and three on probation for engaging in what prosecutors described as “multiple fraudulent schemes” and making false statements to law enforcement.\u003c/p>\n\u003cp>McFarland and his company, Fyre Media, have faced some \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">dozen\u003c/a> lawsuits in the festival’s aftermath. As NPR \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in 2018:\u003c/p>\n\u003cblockquote>\u003cp>McFarland had hawked a “life-changing,” paradisiacal music festival for well-heeled patrons intended to take place in the Bahamas in late April and early May 2017. Instead, the festival—which carried ticket prices of up to $12,000 apiece—collapsed in chaos, launching a parade of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">#dumpsterfyre\u003c/a> jokes and scads of schadenfreudic social media commentary, as hopeful festival-goers and vendors alike realized that they had been bilked.\u003c/p>\u003c/blockquote>\n\u003cp>Organizers offered an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> in the immediate wake of the event, admitting it “fell dramatically short of even the most modest expectations” and providing a form attendees could fill out to apply for a refund.\u003c/p>\n\u003cp>But for many, a refund was not enough.\u003c/p>\n\u003cp>The original class-action suit was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">filed in April 2017\u003c/a> against Fyre Media, McFarland and rapper Ja Rule, who was advertised as the festival’s co-founder, and sought $100 million in damages. The plaintiff is named as Daniel Jung, acting individually and as a representative of “a class of similarly-situated persons.”\u003c/p>\n\u003cp>The 21-page \u003ca href=\"https://www.documentcloud.org/documents/3688226-Fyre-Fest-Lawsuit.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> said refunds were inadequate, writing, “Class Members’ damages in being lured to a deserted island and left to fend for themselves—a situation tantamount to false imprisonment—exceed the face value of their ticket packages by many orders of magnitude.”\u003c/p>\n\u003cp>It accuses organizers of knowingly lying about the festival’s accommodations and safety, reaching out to celebrities and performers to discourage them from coming while continuing to sell ticket packages, which started at $1,200.\u003c/p>\n\u003cp>The festival was promoted—including by many \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\">social media influencers\u003c/a>—as a posh musical festival on a private island once owned by drug kingpin Pablo Escobar, complete with luxurious accommodations and first-class culinary experiences.\u003c/p>\n\u003cp>Instead, attendees arrived to find unsecured FEMA tents, \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">widely panned\u003c/a> food rations and no festival or medical staff to offer assistance. The island was neither private nor formerly owned by Escobar, attorneys noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “The festival’s lack of adequate food, water, shelter and medical care created a dangerous and panicked situation among attendees—suddenly finding themselves stranded on a remote island without basic provisions—that was closer to \u003cem>The Hunger Games\u003c/em> or \u003cem>Lord of the Flies\u003c/em> than Coachella,” they wrote, adding that efforts to escape were hampered by attendees’ reliance on organizers for transportation and the fact that the event had been billed as “cashless.”\u003c/p>\n\u003cp>Several other lawsuits involving the failed festival have been settled already.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2018, a North Carolina judge awarded \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">$5 million in damages\u003c/a> to two attendees who had sued McFarland; Ja Rule was initially named in that suit but was removed from the claim after settling with the two. And last May, \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\" target=\"_blank\" rel=\"noopener noreferrer\">Kendall Jenner\u003c/a> agreed to pay $90,000 for promoting the festival in a social media post.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Hundreds+Of+Fyre+Festival+Ticket+Holders+Poised+To+Win+Payout+In+Class-Action+Suit+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grey's Anatomy' is in its 17th Season... But Are Today's Shows Built to Last?",
"headTitle": "‘Grey’s Anatomy’ is in its 17th Season… But Are Today’s Shows Built to Last? | KQED",
"content": "\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” [aside postid='arts_13893475']\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. [aside postid='arts_13895138']\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes",
"headTitle": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes | KQED",
"content": "\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>[aside postid='arts_13890664']\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. [aside postid='arts_13893138']\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. [aside postid='arts_13895652']\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Billy Eichner Predicted Colton Underwood (the Virgin ‘Bachelor’) Was Gay Two Years Ago",
"headTitle": "Billy Eichner Predicted Colton Underwood (the Virgin ‘Bachelor’) Was Gay Two Years Ago | KQED",
"content": "\u003cp>Colton Underwood, the 26-year-old virgin from Season 23 of \u003cem>The Bachelor\u003c/em>, came out on \u003cem>Good Morning America\u003c/em> on Wednesday morning. “I’ve ran from myself for a long time, I’ve hated myself for a long time,” Colton nervously told Robin Roberts, “and I’m gay.”\u003c/p>\n\u003cp>https://twitter.com/GMA/status/1382296967250776065\u003c/p>\n\u003cp>The news might have shocked Bachelor Nation, but it probably came as absolutely no surprise to Billy Eichner. The comedian seemingly predicted Underwood’s sexuality just two episodes into Season 23. Eichner was brought in as “camp counselor” (and comic relief) during the 2019 sleepaway camp episode of Underwood’s season. At one point, Eichner told Underwood, “Maybe you’re the first gay bachelor and we don’t even know!”\u003c/p>\n\u003cp>The clip went viral shortly after \u003cem>GMA\u003c/em> aired.\u003c/p>\n\u003cp>https://twitter.com/clairemarie_31/status/1382309617091416066\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back now, that entire segment from the show is prescient. At one point, as the women compete in teams to win a night of camping with Underwood, Eichner quips: “Where is the red team going? It’s like Colton trying to find a vagina!”\u003c/p>\n\u003cp>In a one-on-one chat, Eichner also tells Underwood that one-night stands are “fantastic,” gives him a reality check on bad sex, and makes fun of \u003cem>The Bachelor\u003c/em>’s dating rituals. “He just says what’s on his mind and I’m a big fan,” Underwood noted at the time.\u003c/p>\n\u003cp>You can watch the full segment below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2egLire4tY\u003c/p>\n\u003cp>The executive producers of \u003cem>The Bachelor\u003c/em> made a statement in support of Underwood on Wednesday morning. “We are so inspired by Colton Underwood’s courage to embrace and pursue his authentic self,” they said. “As firm believers in the power of love, we celebrate Colton’s journey in the LGBTQIA+ community every step of the way.”\u003c/p>\n\u003cp>GLAAD also released a statement in support of Underwood. “There is no set timeline for coming out,” it said. “Given the large and loyal fandom who know Colton from \u003cem>The Bachelor\u003c/em>, his coming out and discussion of his faith will hopefully open eyes to the millions of out and proud LGBTQ people who are also people of faith.”\u003c/p>\n\u003cp>On the back of that, Eichner made another prediction…\u003c/p>\n\u003cp>https://twitter.com/billyeichner/status/1382364722884796418\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope he’s wrong about that one.\u003c/p>\n\n",
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"headline": "Billy Eichner Predicted Colton Underwood (the Virgin ‘Bachelor’) Was Gay Two Years Ago",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Colton Underwood, the 26-year-old virgin from Season 23 of \u003cem>The Bachelor\u003c/em>, came out on \u003cem>Good Morning America\u003c/em> on Wednesday morning. “I’ve ran from myself for a long time, I’ve hated myself for a long time,” Colton nervously told Robin Roberts, “and I’m gay.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The news might have shocked Bachelor Nation, but it probably came as absolutely no surprise to Billy Eichner. The comedian seemingly predicted Underwood’s sexuality just two episodes into Season 23. Eichner was brought in as “camp counselor” (and comic relief) during the 2019 sleepaway camp episode of Underwood’s season. At one point, Eichner told Underwood, “Maybe you’re the first gay bachelor and we don’t even know!”\u003c/p>\n\u003cp>The clip went viral shortly after \u003cem>GMA\u003c/em> aired.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back now, that entire segment from the show is prescient. At one point, as the women compete in teams to win a night of camping with Underwood, Eichner quips: “Where is the red team going? It’s like Colton trying to find a vagina!”\u003c/p>\n\u003cp>In a one-on-one chat, Eichner also tells Underwood that one-night stands are “fantastic,” gives him a reality check on bad sex, and makes fun of \u003cem>The Bachelor\u003c/em>’s dating rituals. “He just says what’s on his mind and I’m a big fan,” Underwood noted at the time.\u003c/p>\n\u003cp>You can watch the full segment below.\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/r2egLire4tY'\n title='//www.youtube.com/embed/r2egLire4tY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The executive producers of \u003cem>The Bachelor\u003c/em> made a statement in support of Underwood on Wednesday morning. “We are so inspired by Colton Underwood’s courage to embrace and pursue his authentic self,” they said. “As firm believers in the power of love, we celebrate Colton’s journey in the LGBTQIA+ community every step of the way.”\u003c/p>\n\u003cp>GLAAD also released a statement in support of Underwood. “There is no set timeline for coming out,” it said. “Given the large and loyal fandom who know Colton from \u003cem>The Bachelor\u003c/em>, his coming out and discussion of his faith will hopefully open eyes to the millions of out and proud LGBTQ people who are also people of faith.”\u003c/p>\n\u003cp>On the back of that, Eichner made another prediction…\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope he’s wrong about that one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the dark comedy \u003cem>Promising Young Woman,\u003c/em> Cassie (Carey Mulligan) works at a coffee shop by day and hunts sexual predators by night. She goes to bars, pretends to be falling down drunk—and then confronts the men who try to take advantage of her.\u003c/p>\n\u003cp>Cassie is avenging the death of her best friend, who, the movie implies, has died by suicide after being raped at medical school. Writer and director Emerald Fennell says the film was inspired, in part, by the messages other movies send about alcohol and consent. [aside postid='arts_13874000']\u003c/p>\n\u003cp>“When I was growing up—and I think still probably it’s the case now—in movies, getting women drunk to sleep with them, filling up their drink more than you’d fill your own, waiting at the end of the night to see who’s drunk at the club, girls waking up not knowing who’s in bed next to them—it was just comedy fodder,” Fennell says. “We live in a culture where this sort of stuff is normalized.”\u003c/p>\n\u003cp>Fennell got her start in television as an actor, then worked as the showrunner for the second season of\u003cem> Killing Eve. Promising Young Woman \u003c/em>is the first film she’s directed. The movie has been nominated for five Academy Awards, including best director and best original screenplay. Fennell describes the film as “a kind of fantasy—with wish fulfillment” but also as something “much darker and, I hope, more honest than that.”\u003c/p>\n\u003cp>“I always wanted to make a film, I think, that people would really enjoy and emotionally connect to and find gripping and romantic and all of those things, but [that’s] also not a film that lets anyone off the hook,” she says. “That’s a really interesting position for a filmmaker: to make an audience feel that they’re in familiar territory when they’re not.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the film’s depictions of sexual assault, especially as it relates to alcohol \u003c/strong>\u003c/p>\n\u003cp>In Britain at the moment, the most incredible thing is happening, which is that women and girls are writing about their experiences [with sexual assault] at schools. Honestly, the volume, the sheer volume of these stories shows just how commonplace this stuff is. There’s nothing in this film that isn’t—and regrettably—incredibly normal and certainly was when I was growing up. And I think for anyone who thinks that these things weren’t horribly common, I think, probably never went to a party or a nightclub, or is kidding themselves.\u003c/p>\n\u003cp>\u003cstrong>On the character of Cassie\u003c/strong>\u003c/p>\n\u003cp>This is a film about a woman who is trying to find a way forward in a very grief-stricken and angry way. And part of her journey, part of her means of coping is to present herself as incredibly functioning. Like a lot of addicts, I think, she is somewhat addicted to these nighttime excursions, which make her feel kind of fleetingly better. During the day, she wears a lot of pink. Her hair is always immaculate. Her nails are perfect—kind of whimsical pastels. She’s weaponized her femininity, not just in a kind of aggressive way, but as a defense. Like, she knows that people won’t ask too many questions of her if she hides in plain sight like this.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted Cassie’s act of revenge to be scaring men rather than committing acts of violence \u003c/strong>\u003c/p>\n\u003cp>I think part of the film for me was taking a genre that I really love, which is the revenge thriller, and seeing if I could … use that structure, which we’re all so familiar with, but do something unexpected with it—and most importantly, do something that felt feasible to me and female, because I think so often in these kinds of films, and particularly when it pertains to violence, it is not feasible that a woman commits acts of violence against men in the night. It’s not a fair thing to expect. And I think this film is very clear about what happens if you were to try. I really started it by thinking: If I was going to go on a journey like this, what could I do? And if I couldn’t shoot a gun and I’m too unfit to kind of wrestle someone, what could I do to effect some kind of change or to punish people or frighten them? I could do what she does, which is scare them.\u003c/p>\n\u003cp>\u003cstrong>On whether she sees a similarity between \u003c/strong>\u003cem>\u003cstrong>Killing Eve \u003c/strong>\u003c/em>\u003cstrong>and\u003c/strong>\u003cem>\u003cstrong> Promising Young Woman,\u003c/strong>\u003c/em>\u003cstrong> in terms of how they subvert expectations \u003c/strong>[aside postid='arts_13884214']\u003c/p>\n\u003cp>I think, certainly, this sense of wickedness is something that it shares. Anything that gives you that laugh/gasp, sort of “No! Oh god. Yes!” is just always going to be such a fun space to be in. Absolutely, they’re both twists on genres, but I would say they’re both kind of quite different genres, and I’m always kind of quite careful not to make comparisons, just because I think also we do tend to make comparisons between female-led projects much more, just generally all of us as a kind of society. I do think of them as quite markedly different, but certainly, I think, they do share some sort of sense of macabre wickedness and a subversion of the feminine.\u003c/p>\n\u003cp>\u003cstrong>On portraying Camilla Parker Bowles in the latest season of \u003c/strong>\u003cem>\u003cstrong>The Crown \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I definitely don’t think of her as a villain. I think that increasingly what we’re realizing—and certainly on the show—is that anything that touches the royal family, anything that is part of that is so profoundly strange. It’s not like any other world. It’s not like any other family. The circumstances are just completely extraordinary. So that’s kind of the thing that was always interesting to me about Camilla, was that she’s actually very, very private. The Camilla that I was playing, there’s almost no footage, no photographs of her. … She was head girl of her school. She was incredibly popular. Everyone who’s met her from the research says she’s incredibly funny and kind and good fun, and I was just so interested in what happens to that kind of person when they get sucked into this world and then their biography is written for them by other people. I’m certainly not saying that having affairs is a good thing, but a lot of people do it, and it takes more than one person to do it, too. I went at it, to be honest, very much as a fiction. It’s just an amazingly genius drama.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emerald+Fennell%27s+%27Promising+Young+Woman%27+Doesn%27t+Let+Anyone+Off+The+Hook&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>“When I was growing up—and I think still probably it’s the case now—in movies, getting women drunk to sleep with them, filling up their drink more than you’d fill your own, waiting at the end of the night to see who’s drunk at the club, girls waking up not knowing who’s in bed next to them—it was just comedy fodder,” Fennell says. “We live in a culture where this sort of stuff is normalized.”\u003c/p>\n\u003cp>Fennell got her start in television as an actor, then worked as the showrunner for the second season of\u003cem> Killing Eve. Promising Young Woman \u003c/em>is the first film she’s directed. The movie has been nominated for five Academy Awards, including best director and best original screenplay. Fennell describes the film as “a kind of fantasy—with wish fulfillment” but also as something “much darker and, I hope, more honest than that.”\u003c/p>\n\u003cp>“I always wanted to make a film, I think, that people would really enjoy and emotionally connect to and find gripping and romantic and all of those things, but [that’s] also not a film that lets anyone off the hook,” she says. “That’s a really interesting position for a filmmaker: to make an audience feel that they’re in familiar territory when they’re not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the film’s depictions of sexual assault, especially as it relates to alcohol \u003c/strong>\u003c/p>\n\u003cp>In Britain at the moment, the most incredible thing is happening, which is that women and girls are writing about their experiences [with sexual assault] at schools. Honestly, the volume, the sheer volume of these stories shows just how commonplace this stuff is. There’s nothing in this film that isn’t—and regrettably—incredibly normal and certainly was when I was growing up. And I think for anyone who thinks that these things weren’t horribly common, I think, probably never went to a party or a nightclub, or is kidding themselves.\u003c/p>\n\u003cp>\u003cstrong>On the character of Cassie\u003c/strong>\u003c/p>\n\u003cp>This is a film about a woman who is trying to find a way forward in a very grief-stricken and angry way. And part of her journey, part of her means of coping is to present herself as incredibly functioning. Like a lot of addicts, I think, she is somewhat addicted to these nighttime excursions, which make her feel kind of fleetingly better. During the day, she wears a lot of pink. Her hair is always immaculate. Her nails are perfect—kind of whimsical pastels. She’s weaponized her femininity, not just in a kind of aggressive way, but as a defense. Like, she knows that people won’t ask too many questions of her if she hides in plain sight like this.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted Cassie’s act of revenge to be scaring men rather than committing acts of violence \u003c/strong>\u003c/p>\n\u003cp>I think part of the film for me was taking a genre that I really love, which is the revenge thriller, and seeing if I could … use that structure, which we’re all so familiar with, but do something unexpected with it—and most importantly, do something that felt feasible to me and female, because I think so often in these kinds of films, and particularly when it pertains to violence, it is not feasible that a woman commits acts of violence against men in the night. It’s not a fair thing to expect. And I think this film is very clear about what happens if you were to try. I really started it by thinking: If I was going to go on a journey like this, what could I do? And if I couldn’t shoot a gun and I’m too unfit to kind of wrestle someone, what could I do to effect some kind of change or to punish people or frighten them? I could do what she does, which is scare them.\u003c/p>\n\u003cp>\u003cstrong>On whether she sees a similarity between \u003c/strong>\u003cem>\u003cstrong>Killing Eve \u003c/strong>\u003c/em>\u003cstrong>and\u003c/strong>\u003cem>\u003cstrong> Promising Young Woman,\u003c/strong>\u003c/em>\u003cstrong> in terms of how they subvert expectations \u003c/strong>\u003c/p>\u003c/div>",
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"title": "HBO's 'The Nevers': When Steampunk Gets Foggy",
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"content": "\u003cp>Unfocused and overstuffed, the first four episodes of HBO’s \u003cem>The Nevers \u003c/em>provided to critics lack a sufficiently strong narrative backbone to support the surfeit of characters, subplots, themes and familiar storytelling tics thrown at the viewer. The series pairs all this tumult with a frustratingly incremental approach to disclosing What Is Really Going On; as a result, allegiances shift, plots twist and characters take actions for reasons we can only guess at—provided we’re willing to bother.\u003c/p>\n\u003cp>Those sudden reveals and reversals are meant to surprise and delight, of course. And maybe they would, if the show spent more energy attempting to get us invested in these characters and what happens to them.\u003c/p>\n\u003cp>By the end of the fourth episode, viewers who’ve paying close attention will have developed a working theory about Amalia True (Laura Donnelly), the leader of a rag-tag group of women in Victorian London who’ve been granted weird powers by a mysterious event. Amalia’s got the power to experience sudden ripples of the future, see. She’s also fond of the occasional donnybrook, and is an uncannily exceptional hand-to-hand fighter in a way that doesn’t seem connected to her particular power (her “turn,” in the show’s parlance). She’s also got a complicated past she doesn’t like to talk about, including a connection to another one of the “Touched” (others who acquired powers in the same event)—a murderous madwoman named Maladie (Amy Manson). Amalia’s taciturn about pretty much everything, in fact, except for her stated mission, which is to gather together the “Touched” (mostly women of lower station) at the orphanage she runs, so as to offer them protection from a populace growing increasingly hostile to them.\u003c/p>\n\u003cp>There’s more to it, and to her, and the conclusion of the fourth episode suggests that we’ll get to know Amalia’s whole deal in the two episodes that follow (HBO is dividing up \u003cem>The Nevers\u003c/em>‘ season into two six-episode chunks—the second of which has yet to be filmed, and does not yet have an air date). Potential viewers will have to make their own personal calculations to gauge their willingness to invest their time into a show so devoted to cultivating and perpetuating inessential mystery in lieu of clear storytelling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gs-ODufnJ8Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not the only calculation they’ll have to make for themselves, either. \u003cem>The Nevers\u003c/em> was created by Joss Whedon; he wrote and directed the pilot, and directed the second episode as well. \u003ca href=\"https://www.hollywoodreporter.com/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">Actor Ray Fisher raised allegations about Whedon’s abusive behavior on the set of \u003cem>Justice League\u003c/em>; \u003cem>Buffy the Vampire Slayer\u003c/em>‘s Charisma Carpenter and others \u003c/a>have since added their voices to the mix. Whedon officially exited \u003cem>The Nevers\u003c/em> in November of last year; Philippa Goslett took over post-production and was named the series’ new showrunner.\u003c/p>\n\u003cp>It will be interesting to see if the back half of this first season, which won’t involve Whedon, will be able to shake off the thick coating of familiar Whedony writerly tics weighing down these early episodes. To be clear, Whedon doesn’t own the patents on badass women, quippy dialogue, misogynistic villains, sudden character deaths, moony-yet-vicious serial killers or any of the other tropes that recur in his work. But as executed in \u003cem>The Nevers\u003c/em>, these factors slot too neatly into the well-worn grooves we’ve seen from him before. Easily the series’ most familiar, and most tiresome, component is Manson’s Maladie, who swings from giddy, throat-slicing malice to a childlike woundedness in precisely the way—using snippets of the same dialogue—that so many Whedon villains have done before her.\u003c/p>\n\u003cp>The world-building, at least, is extensive, and it’s possible later episodes might benefit from having carved out so much narrative real estate, so many competing interests. But these early episodes are crowded with various factions and alliances whose motivations remain unclear; to accommodate them all, the series keeps checking in on them in scenes too brief to land with the weight they need to, and the series’ insistence on keeping its narrative cards so close to its vest means we often don’t know what we’re supposed to glean out of a given meeting or conversation.\u003c/p>\n\u003cp>If you’re willing to give \u003cem>The Nevers\u003c/em> a chance, it contains the potential to reward your patience, given the introduction of a clear and direct narrative infrastructure to help focus its—and our—attention. Whether that’ll happen, and if anyone will still be watching if it does, is anyone’s guess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Nevers\u003c/strong>\u003c/em>\u003cstrong> debuts on HBO at 9pmET on April 11.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Nevers%27%3A+When+Steampunk+Gets+Foggy&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>That’s not the only calculation they’ll have to make for themselves, either. \u003cem>The Nevers\u003c/em> was created by Joss Whedon; he wrote and directed the pilot, and directed the second episode as well. \u003ca href=\"https://www.hollywoodreporter.com/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">Actor Ray Fisher raised allegations about Whedon’s abusive behavior on the set of \u003cem>Justice League\u003c/em>; \u003cem>Buffy the Vampire Slayer\u003c/em>‘s Charisma Carpenter and others \u003c/a>have since added their voices to the mix. Whedon officially exited \u003cem>The Nevers\u003c/em> in November of last year; Philippa Goslett took over post-production and was named the series’ new showrunner.\u003c/p>\n\u003cp>It will be interesting to see if the back half of this first season, which won’t involve Whedon, will be able to shake off the thick coating of familiar Whedony writerly tics weighing down these early episodes. To be clear, Whedon doesn’t own the patents on badass women, quippy dialogue, misogynistic villains, sudden character deaths, moony-yet-vicious serial killers or any of the other tropes that recur in his work. But as executed in \u003cem>The Nevers\u003c/em>, these factors slot too neatly into the well-worn grooves we’ve seen from him before. Easily the series’ most familiar, and most tiresome, component is Manson’s Maladie, who swings from giddy, throat-slicing malice to a childlike woundedness in precisely the way—using snippets of the same dialogue—that so many Whedon villains have done before her.\u003c/p>\n\u003cp>The world-building, at least, is extensive, and it’s possible later episodes might benefit from having carved out so much narrative real estate, so many competing interests. But these early episodes are crowded with various factions and alliances whose motivations remain unclear; to accommodate them all, the series keeps checking in on them in scenes too brief to land with the weight they need to, and the series’ insistence on keeping its narrative cards so close to its vest means we often don’t know what we’re supposed to glean out of a given meeting or conversation.\u003c/p>\n\u003cp>If you’re willing to give \u003cem>The Nevers\u003c/em> a chance, it contains the potential to reward your patience, given the introduction of a clear and direct narrative infrastructure to help focus its—and our—attention. Whether that’ll happen, and if anyone will still be watching if it does, is anyone’s guess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Nevers\u003c/strong>\u003c/em>\u003cstrong> debuts on HBO at 9pmET on April 11.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Nevers%27%3A+When+Steampunk+Gets+Foggy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>NEW YORK (AP) — DMX, the raspy-voiced hip-hop artist who produced the songs “Ruff Ryders’ Anthem” and “Party Up (Up in Here)” and who rapped with a trademark delivery that was often paired with growls, barks and “What!” as an ad-lib, has died, according to a statement from his family. He was 50.\u003c/p>\n\u003cp>The Grammy-nominated performer died after suffering “catastrophic cardiac arrest,” according to the hospital in White Plains, New York, where he died. He was rushed there from his home April 2.\u003c/p>\n\u003cp>A statement from relatives said he died “with his family by his side after being placed on life support for the past few days.”\u003c/p>\n\u003cp>The rapper, whose real name is Earl Simmons, had struggled with drug addiction since his teenage years. His lawyer, Murray Richman, had earlier said he could not confirm reports that DMX overdosed.\u003c/p>\n\u003cp>DMX made a splash in rap music in 1998 with his first studio album, “It’s Dark and Hell is Hot,” which debuted No. 1 on the Billboard 200 albums chart. The multiplatinum-selling album was anchored by several hits including “Ruff Ryders’ Anthem,” “Get At Me Dog,” “Stop Being Greedy” and “How It’s Goin’ Down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX followed up with four straight chart-topping albums including “… And Then There Was X,” “Flesh of My Flesh, Blood of My Blood,” “The Great Depression” and “Grand Champ.” He released seven albums, earned three Grammy nominations and was named favorite rap/hip-hop artist at the 2000 American Music Awards.\u003c/p>\n\u003cp>DMX arrived on the rap scene around the same time as Jay-Z, Ja Rule and others who dominated the charts and emerged as platinum-selling acts. They were all part of rap crews, too: DMX fronted the Ruff Ryders collective, which helped launch the careers of Grammy winners Eve and Swizz Beatz, and relaunch The Lox, formerly signed to Bad Boy Records. Ruff Ryders had success on the charts and on radio with its “Ryde or Die” compilation albums.\u003c/p>\n\u003cp>Along with his musical career, DMX paved his way as an actor. He starred in the 1998 film “Belly” and appeared in 2000’s “Romeo Must Die” with Jet Li and Aaliyah. DMX and Aaliyah teamed up for “Come Back in One Piece” on the film’s soundtrack.\u003c/p>\n\u003cp>The rapper would later open Aaliyah’s tribute music video, “Miss You,” alongside her other friends and collaborators, including Missy Elliott, Lil’ Kim and Queen Latifah, after Aaliyah’s 2001 death in a plane crash at age 22.\u003c/p>\n\u003cp>The rapper also starred in 2001’s “Exit Wounds” with Steven Seagal and 2003’s “Cradle 2 the Grave” with Li.\u003c/p>\n\u003cp>But while DMX made his mark as one of hip-hop’s most recognizable names for his rap artistry and as an actor, the rapper was personally stifled by his legal battles — he was repeatedly arrested and jailed within a decade — and drug addiction. His addiction first took hold at age 14 when smoked a marijuana cigarette that was laced with cocaine.\u003c/p>\n\u003cp>DMX pleaded guilty in 2004 after he posed as an undercover federal agent a nd crashed his SUV through a security gate at New York’s Kennedy Airport. He was arrested in 2008 on drug and animal cruelty charges following an overnight raid on his house in Phoenix. He tried to barricade himself in his bedroom but emerged when a SWAT team entered his home.\u003c/p>\n\u003cp>In 2010, he was sentenced to a year in prison for violating terms of his probation. After he was admitted to rehab numerous times over the next year, he said he had finally beat his drug addiction.\u003c/p>\n\u003cp>First responders helped bring DMX back to life after he was found in a hotel parking lot in New York in 2016. The rapper said he suffered from asthma.\u003c/p>\n\u003cp>A couple years later, DMX was sentenced to a year in prison for tax fraud. Prosecutors said he concocted a multiyear scheme to hide millions of dollars in income from the IRS and get around nearly $2 million in tax liabilities.\u003c/p>\n\u003cp>After his release, DMX planned a 32-date tour to mark the 20th anniversary of “It’s Dark and Hell is Hot.” But the rapper canceled a series of shows to check himself into a rehab facility in 2019. In an Instagram post, his team said he apologized for the canceled shows and thanked his fans for the continued support.\u003c/p>\n\u003cp>Besides his legal troubles, DMX took the initiative to help the less fortunate. He gave a group of Philadelphia men advice during a surprise appearance at a homeless support group meeting in 2017, and helped a Maine family with its back-to-school purchases a couple years later.\u003c/p>\n\u003cp>Last year, DMX faced off against Snoop Dogg in a Verzuz battle, which drew more than 500,000 viewers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his 15 children and mother.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — DMX, the raspy-voiced hip-hop artist who produced the songs “Ruff Ryders’ Anthem” and “Party Up (Up in Here)” and who rapped with a trademark delivery that was often paired with growls, barks and “What!” as an ad-lib, has died, according to a statement from his family. He was 50.\u003c/p>\n\u003cp>The Grammy-nominated performer died after suffering “catastrophic cardiac arrest,” according to the hospital in White Plains, New York, where he died. He was rushed there from his home April 2.\u003c/p>\n\u003cp>A statement from relatives said he died “with his family by his side after being placed on life support for the past few days.”\u003c/p>\n\u003cp>The rapper, whose real name is Earl Simmons, had struggled with drug addiction since his teenage years. His lawyer, Murray Richman, had earlier said he could not confirm reports that DMX overdosed.\u003c/p>\n\u003cp>DMX made a splash in rap music in 1998 with his first studio album, “It’s Dark and Hell is Hot,” which debuted No. 1 on the Billboard 200 albums chart. The multiplatinum-selling album was anchored by several hits including “Ruff Ryders’ Anthem,” “Get At Me Dog,” “Stop Being Greedy” and “How It’s Goin’ Down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DMX followed up with four straight chart-topping albums including “… And Then There Was X,” “Flesh of My Flesh, Blood of My Blood,” “The Great Depression” and “Grand Champ.” He released seven albums, earned three Grammy nominations and was named favorite rap/hip-hop artist at the 2000 American Music Awards.\u003c/p>\n\u003cp>DMX arrived on the rap scene around the same time as Jay-Z, Ja Rule and others who dominated the charts and emerged as platinum-selling acts. They were all part of rap crews, too: DMX fronted the Ruff Ryders collective, which helped launch the careers of Grammy winners Eve and Swizz Beatz, and relaunch The Lox, formerly signed to Bad Boy Records. Ruff Ryders had success on the charts and on radio with its “Ryde or Die” compilation albums.\u003c/p>\n\u003cp>Along with his musical career, DMX paved his way as an actor. He starred in the 1998 film “Belly” and appeared in 2000’s “Romeo Must Die” with Jet Li and Aaliyah. DMX and Aaliyah teamed up for “Come Back in One Piece” on the film’s soundtrack.\u003c/p>\n\u003cp>The rapper would later open Aaliyah’s tribute music video, “Miss You,” alongside her other friends and collaborators, including Missy Elliott, Lil’ Kim and Queen Latifah, after Aaliyah’s 2001 death in a plane crash at age 22.\u003c/p>\n\u003cp>The rapper also starred in 2001’s “Exit Wounds” with Steven Seagal and 2003’s “Cradle 2 the Grave” with Li.\u003c/p>\n\u003cp>But while DMX made his mark as one of hip-hop’s most recognizable names for his rap artistry and as an actor, the rapper was personally stifled by his legal battles — he was repeatedly arrested and jailed within a decade — and drug addiction. His addiction first took hold at age 14 when smoked a marijuana cigarette that was laced with cocaine.\u003c/p>\n\u003cp>DMX pleaded guilty in 2004 after he posed as an undercover federal agent a nd crashed his SUV through a security gate at New York’s Kennedy Airport. He was arrested in 2008 on drug and animal cruelty charges following an overnight raid on his house in Phoenix. He tried to barricade himself in his bedroom but emerged when a SWAT team entered his home.\u003c/p>\n\u003cp>In 2010, he was sentenced to a year in prison for violating terms of his probation. After he was admitted to rehab numerous times over the next year, he said he had finally beat his drug addiction.\u003c/p>\n\u003cp>First responders helped bring DMX back to life after he was found in a hotel parking lot in New York in 2016. The rapper said he suffered from asthma.\u003c/p>\n\u003cp>A couple years later, DMX was sentenced to a year in prison for tax fraud. Prosecutors said he concocted a multiyear scheme to hide millions of dollars in income from the IRS and get around nearly $2 million in tax liabilities.\u003c/p>\n\u003cp>After his release, DMX planned a 32-date tour to mark the 20th anniversary of “It’s Dark and Hell is Hot.” But the rapper canceled a series of shows to check himself into a rehab facility in 2019. In an Instagram post, his team said he apologized for the canceled shows and thanked his fans for the continued support.\u003c/p>\n\u003cp>Besides his legal troubles, DMX took the initiative to help the less fortunate. He gave a group of Philadelphia men advice during a surprise appearance at a homeless support group meeting in 2017, and helped a Maine family with its back-to-school purchases a couple years later.\u003c/p>\n\u003cp>Last year, DMX faced off against Snoop Dogg in a Verzuz battle, which drew more than 500,000 viewers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his 15 children and mother.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amazon's 'Them' is Drowning in Terror, Trauma and Too Many Ideas",
"headTitle": "Amazon’s ‘Them’ is Drowning in Terror, Trauma and Too Many Ideas | KQED",
"content": "\u003cp>Lately, everyone’s talking about trauma. Trauma in news form, trauma in essay form, trauma in Twitter thread form. In pop culture, creators are mining the depths of trauma both personal and historical in a variety of ways—documenting the testimonials of \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">real-life victims\u003c/a> in \u003ca href=\"https://www.npr.org/2020/06/12/876348924/in-on-the-record-black-women-s-voices-get-a-needed-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">shocking detail\u003c/a>; weaving harrowing experiences into \u003ca href=\"https://www.vanityfair.com/hollywood/2018/09/bojack-horseman-season-5-lisa-hanawalt-interview\" target=\"_blank\" rel=\"noopener noreferrer\">fictional characters’ narratives\u003c/a>. In those fictional characterizations sometimes, the trauma is merely a plot point; at other times, \u003ca href=\"https://www.npr.org/2021/01/21/958526533/the-agony-and-subversion-of-the-promising-young-woman-ending\" target=\"_blank\" rel=\"noopener noreferrer\">it \u003cem>is \u003c/em>the point\u003c/a>, or rather, the \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">wrestling with and processing of it\u003c/a> is.\u003c/p>\n\u003cp>The new Amazon series \u003cem>Them\u003c/em>, created by Little Marvin (Lena Waithe is one of the executive producers), has been billed as an anthology that “explores terror in America.” Terror, trauma … is there much difference between the two? Certainly not in this case, as the first season centers the Emorys, a Black family moving from rural North Carolina to the suburbs of East Compton, Calif., in 1953, back when East Compton was virtually all white.\u003c/p>\n\u003cp>Even if you hadn’t already seen the much-discussed trailer, it would be easy enough to guess what said terror might entail based on that short description alone: Good ol’, mid-20th century American racism. (With a brief detour to the 19th century in a later episode.)\u003c/p>\n\u003cp>More specifically, the terror/trauma depicted in \u003cem>Them \u003c/em>includes, but is not limited to: White characters spewing the N-word at Black people; white characters graphically assaulting, torturing, and (occasionally) murdering Black people; a creepy minstrel character rendered in blackface; filicide.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em>, the Emorys’ new neighbors in this cookie-cutter Pleasantville are the opposite of welcoming. Betty (Alison Pill)—a dissatisfied housewife who absolutely would have been front and center of the \u003ca href=\"https://www.youtube.com/watch?v=ym8rdtq-KBE#t=01m10s\" target=\"_blank\" rel=\"noopener noreferrer\">angry white mob\u003c/a> that harassed the Little Rock Nine outside Central High School in Arkansas—leads the charge, rounding up the rest of the community to coordinate targeted attacks on the new family. Adding to these immediate threats is the fact that the Emorys—Lucky (Deborah Ayorinde), Henry (Ashley Thomas) and their daughters Ruby Lee (Shahadi Wright Joseph) and Gracie Jean (Melody Hurd)—are already entering into this new environment carrying their own set of deeply unsettling emotional baggage. Because \u003cem>of course\u003c/em>; they are Black in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WL3Jz8fDgFI\u003c/p>\n\u003cp>\u003cem>Them\u003c/em> features an impressive array of filmmaking talent across 10 episodes, including Janicza Bravo (who’s directed, among other things, the excellent “Juneteenth” episode of \u003cem>Atlanta\u003c/em>) and notable horror director Ti West (\u003cem>The Innkeepers\u003c/em>). The performances are invigorating, particularly Ayorinde and Thomas, who are tasked with excavating the pain that comes from wounds both generational and directly personal.\u003c/p>\n\u003cp>But baked into this production is the pesky, exhausting problem of “doing too much.” This is evident in the glut of needle-drops, many of them anachronistic, which clutter the storytelling and club the viewer over the head with their obviousness. When Lucky responds to one of Betty’s racist tirades by smacking her clear across the face (right after she politely asks little Gracie to hold her purse), James Brown’s electrifying “\u003ca href=\"https://www.youtube.com/watch?v=istJXUJJP0g\" target=\"_blank\" rel=\"noopener noreferrer\">The Payback\u003c/a>” kicks in for a hot second; yet the punctuation feels less like a triumphant nod to \u003ca href=\"https://www.youtube.com/watch?v=GCc99Gh-IEM\" target=\"_blank\" rel=\"noopener noreferrer\">Foxy Brown\u003c/a> than it does a crass, intentional play for Black Twitter meme status. There are so many stylish music cues like this that early on it begins to seem as if the writers have relied on the likes of Judy Garland, Nat King Cole, and Isaac Hayes to do all of the heavy lifting to cover up the thin story.\u003c/p>\n\u003cp>\u003cem>Them \u003c/em>is also drowning in terror and trauma, and little else. And that trauma and terror are so horrific, several episodes begin with content warnings of graphic violence. I’m not one who believes every piece of art depicting awful events needs such disclosure, but in this case, the producers made the correct choice; there are scenes involving Black pain and suffering so mortifying, I can imagine many viewers not being able to finish watching it.\u003c/p>\n\u003cp>The attention to the details of this suffering is chilling not necessarily because of what is depicted—there’s a time and place for such explicitness in the right creative hands—but because it’s depicted in service of a cynical mode of storytelling. Each of the Emorys are haunted by a demon corresponding to their individual life experiences, and through these spirits, one can see the makings of a potentially more interesting character study than what we’re given—a story using supernatural elements to tap into trauma within Black families with the richness and sharpness of a movie like Kasi Lemmons’ \u003cem>Eve’s Bayou\u003c/em> or, more recently, \u003ca href=\"https://www.youtube.com/watch?v=DYY0QJhlXjc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>His House\u003c/em>\u003c/a>, the captivating haunted house tale about a South Sudanese refugee couple living in the U.K.\u003c/p>\n\u003cp>Instead it borrows from the playbook of last year’s unwieldly and exploitative \u003ca href=\"https://www.npr.org/2020/09/15/913246254/what-exactly-is-antebellum-trying-to-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Antebellum\u003c/em>\u003c/a>, and shows like \u003cem>Westworld \u003c/em>and \u003cem>Lovecraft Country, \u003c/em>which favor slick convolution over coherent narrative choices\u003cem>. \u003c/em>There are So! Many! Ideas! And! Tones! being mashed up here, and to little effect. At one point the show diverts to a baffling hostage-in-a-bunker plotline for reasons that remain unclear.\u003c/p>\n\u003cp>When the full trailer for \u003cem>Them \u003c/em>dropped last month, the Twitter timeline was alit with commentary about how the show’s themes and aesthetic seemed to be \u003ca href=\"http://abcnewsradioonline.com/music-news/2021/3/23/us-against-them-amazon-series-roasted-as-ripoff-of-jordan-pe-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">biting from Jordan Peele\u003c/a>. Superficial similarities aside—the titles \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Us\u003c/em>\u003c/a> vs. \u003cem>Them\u003c/em>; the casting of Shahadi Wright Joseph in both projects—such conclusions gloss over a few realities, such as the fact that Peele himself has always been vocal about the \u003ca href=\"https://www.vulture.com/article/get-out-oral-history-jordan-peele.html\" target=\"_blank\" rel=\"noopener noreferrer\">many films that inspired \u003cem>his own\u003c/em> work\u003c/a>. They also seem to misunderstand, or ignore, how genres fundamentally build upon and play with familiar elements and tropes. There’s as much standard horror stuff of the Stephen King variety in \u003cem>Them\u003c/em> as there is Peele’s influence.\u003c/p>\n\u003cp>The problem, then, has less to do with parallels to \u003cem>Get Out \u003c/em>than the show’s inability to establish a reason to exist beyond the thesis of “Racism is terrorism, and it’s everywhere; in our entertainment, schools, workspaces, churches, homes.” It’s a fair starting point for telling a story (or teaching basic history), but it can’t be the \u003cem>only \u003c/em>point. By all means, wrestle with the real-life terrors that can come with Black homeownership, Black parenting, white women’s complicity in upholding racist infrastructure, and so on. But also bring more to the narrative in the way of inventive scares, characterization, or even, where appropriate, some levity.\u003c/p>\n\u003cp>\u003cem>Them\u003c/em> suffers from the same predicament that has arisen in the wake of Black people becoming hashtags in death—the public knows far more about their last moments on Earth than all the moments that made up their life before. Viewers who make it through all 10 episodes will know plenty about how the Emorys have suffered and been traumatized, but they won’t come away with much else.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Them \u003c/strong>\u003c/em>\u003cstrong>debuts on Amazon Prime on Friday, April 9.\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Them%27%3A+The+Trauma%2C+The+Trauma&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lately, everyone’s talking about trauma. Trauma in news form, trauma in essay form, trauma in Twitter thread form. In pop culture, creators are mining the depths of trauma both personal and historical in a variety of ways—documenting the testimonials of \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">real-life victims\u003c/a> in \u003ca href=\"https://www.npr.org/2020/06/12/876348924/in-on-the-record-black-women-s-voices-get-a-needed-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">shocking detail\u003c/a>; weaving harrowing experiences into \u003ca href=\"https://www.vanityfair.com/hollywood/2018/09/bojack-horseman-season-5-lisa-hanawalt-interview\" target=\"_blank\" rel=\"noopener noreferrer\">fictional characters’ narratives\u003c/a>. In those fictional characterizations sometimes, the trauma is merely a plot point; at other times, \u003ca href=\"https://www.npr.org/2021/01/21/958526533/the-agony-and-subversion-of-the-promising-young-woman-ending\" target=\"_blank\" rel=\"noopener noreferrer\">it \u003cem>is \u003c/em>the point\u003c/a>, or rather, the \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">wrestling with and processing of it\u003c/a> is.\u003c/p>\n\u003cp>The new Amazon series \u003cem>Them\u003c/em>, created by Little Marvin (Lena Waithe is one of the executive producers), has been billed as an anthology that “explores terror in America.” Terror, trauma … is there much difference between the two? Certainly not in this case, as the first season centers the Emorys, a Black family moving from rural North Carolina to the suburbs of East Compton, Calif., in 1953, back when East Compton was virtually all white.\u003c/p>\n\u003cp>Even if you hadn’t already seen the much-discussed trailer, it would be easy enough to guess what said terror might entail based on that short description alone: Good ol’, mid-20th century American racism. (With a brief detour to the 19th century in a later episode.)\u003c/p>\n\u003cp>More specifically, the terror/trauma depicted in \u003cem>Them \u003c/em>includes, but is not limited to: White characters spewing the N-word at Black people; white characters graphically assaulting, torturing, and (occasionally) murdering Black people; a creepy minstrel character rendered in blackface; filicide.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em>, the Emorys’ new neighbors in this cookie-cutter Pleasantville are the opposite of welcoming. Betty (Alison Pill)—a dissatisfied housewife who absolutely would have been front and center of the \u003ca href=\"https://www.youtube.com/watch?v=ym8rdtq-KBE#t=01m10s\" target=\"_blank\" rel=\"noopener noreferrer\">angry white mob\u003c/a> that harassed the Little Rock Nine outside Central High School in Arkansas—leads the charge, rounding up the rest of the community to coordinate targeted attacks on the new family. Adding to these immediate threats is the fact that the Emorys—Lucky (Deborah Ayorinde), Henry (Ashley Thomas) and their daughters Ruby Lee (Shahadi Wright Joseph) and Gracie Jean (Melody Hurd)—are already entering into this new environment carrying their own set of deeply unsettling emotional baggage. Because \u003cem>of course\u003c/em>; they are Black in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WL3Jz8fDgFI'\n title='//www.youtube.com/embed/WL3Jz8fDgFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Them\u003c/em> features an impressive array of filmmaking talent across 10 episodes, including Janicza Bravo (who’s directed, among other things, the excellent “Juneteenth” episode of \u003cem>Atlanta\u003c/em>) and notable horror director Ti West (\u003cem>The Innkeepers\u003c/em>). The performances are invigorating, particularly Ayorinde and Thomas, who are tasked with excavating the pain that comes from wounds both generational and directly personal.\u003c/p>\n\u003cp>But baked into this production is the pesky, exhausting problem of “doing too much.” This is evident in the glut of needle-drops, many of them anachronistic, which clutter the storytelling and club the viewer over the head with their obviousness. When Lucky responds to one of Betty’s racist tirades by smacking her clear across the face (right after she politely asks little Gracie to hold her purse), James Brown’s electrifying “\u003ca href=\"https://www.youtube.com/watch?v=istJXUJJP0g\" target=\"_blank\" rel=\"noopener noreferrer\">The Payback\u003c/a>” kicks in for a hot second; yet the punctuation feels less like a triumphant nod to \u003ca href=\"https://www.youtube.com/watch?v=GCc99Gh-IEM\" target=\"_blank\" rel=\"noopener noreferrer\">Foxy Brown\u003c/a> than it does a crass, intentional play for Black Twitter meme status. There are so many stylish music cues like this that early on it begins to seem as if the writers have relied on the likes of Judy Garland, Nat King Cole, and Isaac Hayes to do all of the heavy lifting to cover up the thin story.\u003c/p>\n\u003cp>\u003cem>Them \u003c/em>is also drowning in terror and trauma, and little else. And that trauma and terror are so horrific, several episodes begin with content warnings of graphic violence. I’m not one who believes every piece of art depicting awful events needs such disclosure, but in this case, the producers made the correct choice; there are scenes involving Black pain and suffering so mortifying, I can imagine many viewers not being able to finish watching it.\u003c/p>\n\u003cp>The attention to the details of this suffering is chilling not necessarily because of what is depicted—there’s a time and place for such explicitness in the right creative hands—but because it’s depicted in service of a cynical mode of storytelling. Each of the Emorys are haunted by a demon corresponding to their individual life experiences, and through these spirits, one can see the makings of a potentially more interesting character study than what we’re given—a story using supernatural elements to tap into trauma within Black families with the richness and sharpness of a movie like Kasi Lemmons’ \u003cem>Eve’s Bayou\u003c/em> or, more recently, \u003ca href=\"https://www.youtube.com/watch?v=DYY0QJhlXjc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>His House\u003c/em>\u003c/a>, the captivating haunted house tale about a South Sudanese refugee couple living in the U.K.\u003c/p>\n\u003cp>Instead it borrows from the playbook of last year’s unwieldly and exploitative \u003ca href=\"https://www.npr.org/2020/09/15/913246254/what-exactly-is-antebellum-trying-to-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Antebellum\u003c/em>\u003c/a>, and shows like \u003cem>Westworld \u003c/em>and \u003cem>Lovecraft Country, \u003c/em>which favor slick convolution over coherent narrative choices\u003cem>. \u003c/em>There are So! Many! Ideas! And! Tones! being mashed up here, and to little effect. At one point the show diverts to a baffling hostage-in-a-bunker plotline for reasons that remain unclear.\u003c/p>\n\u003cp>When the full trailer for \u003cem>Them \u003c/em>dropped last month, the Twitter timeline was alit with commentary about how the show’s themes and aesthetic seemed to be \u003ca href=\"http://abcnewsradioonline.com/music-news/2021/3/23/us-against-them-amazon-series-roasted-as-ripoff-of-jordan-pe-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">biting from Jordan Peele\u003c/a>. Superficial similarities aside—the titles \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Us\u003c/em>\u003c/a> vs. \u003cem>Them\u003c/em>; the casting of Shahadi Wright Joseph in both projects—such conclusions gloss over a few realities, such as the fact that Peele himself has always been vocal about the \u003ca href=\"https://www.vulture.com/article/get-out-oral-history-jordan-peele.html\" target=\"_blank\" rel=\"noopener noreferrer\">many films that inspired \u003cem>his own\u003c/em> work\u003c/a>. They also seem to misunderstand, or ignore, how genres fundamentally build upon and play with familiar elements and tropes. 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"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?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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