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"content": "\u003cp>Not since that \u003ca href=\"https://knowyourmeme.com/memes/woman-yelling-at-a-cat\" rel=\"noopener noreferrer\" target=\"_blank\">crying blond lady yelled at that white cat\u003c/a> has the internet so thoroughly embraced a meme. In the two days since Bernie Sanders sat at Wednesday’s inauguration looking like a reluctant granddad at a winter Little League game, the internet has been putting him, well, \u003cem>everywhere\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/Bosslogic/status/1352421430655242242\u003c/p>\n\u003cp>But what started as fairly commonplace meme fodder—putting Bernie in \u003ca href=\"https://twitter.com/HamillHimself/status/1352412493763596289\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars \u003c/em>\u003c/a>and\u003ca href=\"https://twitter.com/KelseyMLoo/status/1352294913896022020\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Mean Girls\u003c/em>\u003c/a>, and \u003ca href=\"https://twitter.com/xcusemybeauty/status/1351994194001276929\" target=\"_blank\" rel=\"noopener noreferrer\">’90s TV shows\u003c/a>, and \u003ca href=\"https://twitter.com/runch_randa510/status/1352119647332519937\" target=\"_blank\" rel=\"noopener noreferrer\">K-Pop bands\u003c/a>—has, over the last 48 hours, descended into increasingly niche material.\u003c/p>\n\u003cp>For me, the moment I knew this meme was going to stranger places was when \u003cem>Twin Peaks\u003c/em>‘ very own Agent Cooper, Kyle MacLachlan, posted a pic of Bernie as the Log Lady.\u003c/p>\n\u003cp>https://twitter.com/Kyle_MacLachlan/status/1352352770070876160\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Thursday was definitely the day the Bernie memes left the realms of mainstream pop culture and got very, very specific. Goodbye teen classics! Hello conversational Linklater pieces from 2004!\u003c/p>\n\u003cp>https://twitter.com/Yoonicorn/status/1352414050236456961\u003c/p>\n\u003cp>Someone also saw fit to replace the floating tank monster (yes, yes, it’s called a \u003ca href=\"https://dune.fandom.com/wiki/Guild_Navigator\" target=\"_blank\" rel=\"noopener noreferrer\">Guild Navigator\u003c/a>, I know) from 1984’s \u003cem>Dune.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/RetroAtomRadio/status/1352409890203951105\u003c/p>\n\u003cp>Then thrash metal guitarist, Alex Skolnick, shared Bernie on the cover of his band Testament’s \u003cem>Practice What You Preach\u003c/em> album.\u003c/p>\n\u003cp>https://twitter.com/AlexSkolnick/status/1352423365605261312\u003c/p>\n\u003cp>As the Bernie meme spiraled out of control in the land of music and movies, I wondered if anything similar had happened in the art world. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Once Bernie had been plopped into \u003cem>Christina’s World\u003c/em> by Andrew Wyeth, it was clear things had gotten wildly off topic…\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>So, \u003ca href=\"https://twitter.com/mlobelart\" target=\"_blank\" rel=\"noopener noreferrer\">the art history professor\u003c/a> who created it reeled things back in with a couple of takes on the Edward Hopper classic, \u003cem>Night Hawks\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Zero shade to that human. I’d be lying if I said there wasn’t a KQED one.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you’re wondering how Bernie is taking all of this, on Thursday night he told Seth Myers: “I was just sitting there trying to keep warm, trying to pay attention to what was going on.”\u003c/p>\n\u003cp>Bernie’s campaign didn’t miss a beat, though. You can now turn yourself into a walking, talking meme, with your very own Bernie-at-the-inauguration sweater! Knock yourselves out—it’s for charity.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Saturday Night Live\u003c/em> and The Second City comedy enterprises have announced the recipients of a new training scholarship for diverse, emerging talent. From a pool of some 1,300 applicants, four up and coming comedians were selected: Alexi Bolden, Gabriella “Gabi” Castillo, Kaili Turner and Morgan Van Dyne. The scholarships will cover all of their performance and writing training at Second City and give them access to \u003cem>SNL\u003c/em> talent executives.\u003c/p>\n\u003cp>This partnership between these two legendary comedy institutions got off the ground last summer when \u003cem>SNL\u003c/em> approached The Second City with an offer to sponsor a fund for developing diverse talent, says Abby Wagner, The Second City’s VP for Customer Success. She says executives didn’t flinch. “It was the ultimate ‘Yes, And,'” Wagner laughs, employing \u003ca href=\"https://www.secondcity.com/how-to-say-yes-and/\" target=\"_blank\" rel=\"noopener noreferrer\">improv’s\u003c/a> cardinal rule. [aside postid='arts_13886669']\u003c/p>\n\u003cp>“Giddy” is how Gabriela “Gabi” Castillo says she feels about winning the scholarship. Castillo is an actor and teaching artist living in Chicago who immigrated to the United States from Cuba in 1998. She’s taken classes at Second City before. “This blessing has rid me of a major financial obstacle that was delaying my return to the Second City Training Center,” she says in a \u003ca href=\"https://www.secondcity.com/network/meet-the-snl-scholarship-recipients/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>, “It was at the SCTC where I first learned how to use comedy to transform into art the paradoxes of my experiences as a Cuban-American of Black descent and refugee.”\u003c/p>\n\u003cp>Both \u003cem>SNL\u003c/em> and The Second City have been criticized for racial inequities and both have taken steps to address the criticism.\u003c/p>\n\u003cp>Last June, numerous comedians with experience at The Second City signed an open \u003ca href=\"https://thecomicscomic.com/2020/06/15/black-performers-and-other-minority-alums-of-the-second-city-and-the-ucb-join-forces-asking-their-theaters-to-do-better/\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> saying “erasure, racial discrimination, manipulation, pay inequity, tokenism, monetization of Black culture, and trauma-inducing experiences of Black artists at The Second City will no longer be tolerated.” In response, Andrew Alexander, co-owner and executive producer of the company \u003ca href=\"https://chicago.suntimes.com/2020/6/5/21282158/andrew-alexander-owner-second-city-chicago-steps-down-amid-racism-accusations\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> and the company \u003ca href=\"https://twitter.com/TheSecondCity/status/1271094775530356739\" target=\"_blank\" rel=\"noopener noreferrer\">committed\u003c/a> to a number of DEI (Diversity, Equity and Inclusion) initiatives. In November \u003ca href=\"https://www.secondcity.com/network/the-second-city-names-jon-carr-new-executive-producer/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Carr\u003c/a>, who is Black, was named The Second City’s new Executive Director.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em> has been \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/01/10/261373327/conversation-about-snl-and-diversity-just-getting-started\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> out for a decades long lack of diversity among its writers and performers. Up until recently, its cast was predominately white. In 2016, \u003cem>SNL\u003c/em> executive producer Lorne Michaels’ company Broadway Video launched \u003ca href=\"http://www.latina.com/entertainment/buzz/mas-mejor-snl-studio\" target=\"_blank\" rel=\"noopener noreferrer\">Mas Mejor\u003c/a>, a showcase and launchpad for Latino voices like \u003ca href=\"https://www.npr.org/2018/09/29/652610008/a-top-impressionist-melissa-villase-or-is-finding-her-own-voice-on-snl\" target=\"_blank\" rel=\"noopener noreferrer\">Melissa Villasenor\u003c/a> who became \u003cem>SNL\u003c/em>‘s first Latina cast member. Last year, \u003ca href=\"https://www.npr.org/2020/09/24/916498255/bowen-yang-on-snl-and-diversity\" target=\"_blank\" rel=\"noopener noreferrer\">Bowen Yang\u003c/a> became the cast’s first Chinese American. Over the course of its 46 years, the show has had very few Black, female writers. [aside postid='arts_13840702']\u003c/p>\n\u003cp>The \u003cem>SNL\u003c/em>/Second City scholarship is intended to help make the pipeline for new comedy talent more diverse. As Wagner explains it, the judges looked for aspiring comedians at various entry points in their careers from just starting out to “some experience.” She says all of their training costs will be covered for one to two years, depending on their needs. The individual programs will be a “customized package that gets them to the point where they can get in front of \u003cem>SNL\u003c/em>” executives.\u003c/p>\n\u003cp>Here are the other scholarship recipients:\u003c/p>\n\u003cp>Alexi Bolden, a senior at the University of Iowa majoring in theater and African American Studies, is thrilled to have been selected. “I am constantly influenced and inspired by \u003cem>SNL\u003c/em> to be bold with myself and, by association, with my comedy,” she says.\u003c/p>\n\u003cp>Kaili Turner is a self-described “Black Indian and proud enrolled member of the Nipmuc nation, as well as a comedian, actress, writer, producer and puppeteer.”\u003c/p>\n\u003cp>Morgan Van Dyne is a Chicago-based comedian who uses “their platform to speak about queer identities, mental health, and disabilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wagner says, while there are “no guarantees” the scholarships will result in jobs at \u003cem>SNL\u003c/em>, by the end of their training, she believes they’ll have a leg up when it comes to an \u003cem>SNL\u003c/em> audition.\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=%27SNL%27+And+%27Second+City%27+Announce+Scholarships+For+Diverse%2C+Emerging+Comic+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Saturday Night Live\u003c/em> and The Second City comedy enterprises have announced the recipients of a new training scholarship for diverse, emerging talent. From a pool of some 1,300 applicants, four up and coming comedians were selected: Alexi Bolden, Gabriella “Gabi” Castillo, Kaili Turner and Morgan Van Dyne. The scholarships will cover all of their performance and writing training at Second City and give them access to \u003cem>SNL\u003c/em> talent executives.\u003c/p>\n\u003cp>This partnership between these two legendary comedy institutions got off the ground last summer when \u003cem>SNL\u003c/em> approached The Second City with an offer to sponsor a fund for developing diverse talent, says Abby Wagner, The Second City’s VP for Customer Success. She says executives didn’t flinch. “It was the ultimate ‘Yes, And,'” Wagner laughs, employing \u003ca href=\"https://www.secondcity.com/how-to-say-yes-and/\" target=\"_blank\" rel=\"noopener noreferrer\">improv’s\u003c/a> cardinal rule. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Giddy” is how Gabriela “Gabi” Castillo says she feels about winning the scholarship. Castillo is an actor and teaching artist living in Chicago who immigrated to the United States from Cuba in 1998. She’s taken classes at Second City before. “This blessing has rid me of a major financial obstacle that was delaying my return to the Second City Training Center,” she says in a \u003ca href=\"https://www.secondcity.com/network/meet-the-snl-scholarship-recipients/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>, “It was at the SCTC where I first learned how to use comedy to transform into art the paradoxes of my experiences as a Cuban-American of Black descent and refugee.”\u003c/p>\n\u003cp>Both \u003cem>SNL\u003c/em> and The Second City have been criticized for racial inequities and both have taken steps to address the criticism.\u003c/p>\n\u003cp>Last June, numerous comedians with experience at The Second City signed an open \u003ca href=\"https://thecomicscomic.com/2020/06/15/black-performers-and-other-minority-alums-of-the-second-city-and-the-ucb-join-forces-asking-their-theaters-to-do-better/\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> saying “erasure, racial discrimination, manipulation, pay inequity, tokenism, monetization of Black culture, and trauma-inducing experiences of Black artists at The Second City will no longer be tolerated.” In response, Andrew Alexander, co-owner and executive producer of the company \u003ca href=\"https://chicago.suntimes.com/2020/6/5/21282158/andrew-alexander-owner-second-city-chicago-steps-down-amid-racism-accusations\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> and the company \u003ca href=\"https://twitter.com/TheSecondCity/status/1271094775530356739\" target=\"_blank\" rel=\"noopener noreferrer\">committed\u003c/a> to a number of DEI (Diversity, Equity and Inclusion) initiatives. In November \u003ca href=\"https://www.secondcity.com/network/the-second-city-names-jon-carr-new-executive-producer/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Carr\u003c/a>, who is Black, was named The Second City’s new Executive Director.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em> has been \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/01/10/261373327/conversation-about-snl-and-diversity-just-getting-started\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> out for a decades long lack of diversity among its writers and performers. Up until recently, its cast was predominately white. In 2016, \u003cem>SNL\u003c/em> executive producer Lorne Michaels’ company Broadway Video launched \u003ca href=\"http://www.latina.com/entertainment/buzz/mas-mejor-snl-studio\" target=\"_blank\" rel=\"noopener noreferrer\">Mas Mejor\u003c/a>, a showcase and launchpad for Latino voices like \u003ca href=\"https://www.npr.org/2018/09/29/652610008/a-top-impressionist-melissa-villase-or-is-finding-her-own-voice-on-snl\" target=\"_blank\" rel=\"noopener noreferrer\">Melissa Villasenor\u003c/a> who became \u003cem>SNL\u003c/em>‘s first Latina cast member. Last year, \u003ca href=\"https://www.npr.org/2020/09/24/916498255/bowen-yang-on-snl-and-diversity\" target=\"_blank\" rel=\"noopener noreferrer\">Bowen Yang\u003c/a> became the cast’s first Chinese American. Over the course of its 46 years, the show has had very few Black, female writers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>SNL\u003c/em>/Second City scholarship is intended to help make the pipeline for new comedy talent more diverse. As Wagner explains it, the judges looked for aspiring comedians at various entry points in their careers from just starting out to “some experience.” She says all of their training costs will be covered for one to two years, depending on their needs. The individual programs will be a “customized package that gets them to the point where they can get in front of \u003cem>SNL\u003c/em>” executives.\u003c/p>\n\u003cp>Here are the other scholarship recipients:\u003c/p>\n\u003cp>Alexi Bolden, a senior at the University of Iowa majoring in theater and African American Studies, is thrilled to have been selected. “I am constantly influenced and inspired by \u003cem>SNL\u003c/em> to be bold with myself and, by association, with my comedy,” she says.\u003c/p>\n\u003cp>Kaili Turner is a self-described “Black Indian and proud enrolled member of the Nipmuc nation, as well as a comedian, actress, writer, producer and puppeteer.”\u003c/p>\n\u003cp>Morgan Van Dyne is a Chicago-based comedian who uses “their platform to speak about queer identities, mental health, and disabilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wagner says, while there are “no guarantees” the scholarships will result in jobs at \u003cem>SNL\u003c/em>, by the end of their training, she believes they’ll have a leg up when it comes to an \u003cem>SNL\u003c/em> audition.\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=%27SNL%27+And+%27Second+City%27+Announce+Scholarships+For+Diverse%2C+Emerging+Comic+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘WandaVision’: The Next Era of the MCU Will Be Televised | KQED",
"content": "\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. [aside postid='pop_109932']\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sj9J2ecsSpo\u003c/p>\n\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. [aside postid='arts_13872364']\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\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/sj9J2ecsSpo'\n title='//www.youtube.com/embed/sj9J2ecsSpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For The Kid in Your Life, 3 Video Games That Play Like Storybooks",
"headTitle": "For The Kid in Your Life, 3 Video Games That Play Like Storybooks | KQED",
"content": "\u003cp>Growing up, I always saw playing video games as a natural extension of my interest in reading. To me, the fantastical worlds I explored in games mirrored those of my favorite children’s books like \u003cem>Where the Wild Things Are\u003c/em> and \u003cem>The Lorax. \u003c/em>Many of the games I played and the stories I read shared a similar sense of whimsy and adventure, and piqued my interest with intriguing art styles.\u003c/p>\n\u003cp>And that makes sense, given that some video games evoke the feeling of reading a great piece of children’s literature. This is especially true for the point-and-click genre (named after the way you play), which can make you feel like you’re turning the pages in a book as you progress from scene to scene, moving your character across a static, 2D illustrated background. And just like a children’s book, these games encourage you to stop and take in the scene as a whole.\u003c/p>\n\u003cp>With that in mind, here are three great games to play alongside the kids in your life. While none of them are specifically marketed towards children, they’re each still compelling and appropriate for younger players—and they don’t require a fancy console or prior experience playing video games. Although some of the puzzles in these games will be too difficult for a kid to figure out alone, they make for a wonderful time that you can share together. Try them sitting side by side, and huddle over the screen together as you tinker through these worlds.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Röki\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png\" alt=\"The Nordic forests (okay, and some monsters) of 'Röki.'\" width=\"750\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507-160x90.png 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Explore Nordic forests (okay, and some monsters) in ‘Röki.’ \u003ccite>(Polygon Treehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an essay for the \u003cem>New York Times Book Review\u003c/em>, editor Pamela Paul \u003ca href=\"https://www.nytimes.com/2011/09/18/books/review/the-childrens-authors-who-broke-the-rules.html\" target=\"_blank\" rel=\"noopener noreferrer\">discussed the contributions of classic children’s authors\u003c/a> like Maurice Sendak, Shel Silverstein, and Dr. Seuss, saying they “brought a shock of subversion to the genre—defying the notion that children’s books shouldn’t be scary, silly or sophisticated.” While all the games on this list speak to this sentiment to varying degrees, reading Paul’s words made me particularly think of \u003cem>\u003ca href=\"https://www.polygon-treehouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Röki\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Polygon Treehouse’s phenomenal debut title brings to life a dark, Scandinavian-inspired fairy tale through a contemporary retelling. \u003cem>Röki\u003c/em> follows Tove, a young girl, who is trying to save her family after they disappear. As she explores snow-covered Nordic forests, she encounters giant monsters and mystical talking trees with dozens of eyes and magical powers. It’s up to her to see if she can contact the spirits she needs to find her family. The characters in the game remind me of creatures from Hayao Miyazaki films like\u003cem> Princess Mononoke \u003c/em>or Sendak’s \u003cem>Where the Wild Things Are\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Röki\u003c/em> switches up the classic point-and-click formula; you’ll move using arrow keys rather than the mouse. However, the gameplay mainly stays true to the genre by having you drag and drop items to solve puzzles. I will say, the changes made make the game more playable. I appreciated little features like a button that makes all items glow, because then it becomes pretty obvious what each next step is.\u003c/p>\n\u003cp>While I think \u003cem>Röki’s \u003c/em>story will interest kids and adults alike, it does start off on a dark note as Tove loses both her father and her brother. So maybe watch a gameplay video beforehand if you aren’t sure it’s a good fit for a child.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Old Man’s Journey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg\" alt=\"The vibrant, pastel-inspired art of 'Old Man's Journey.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The vibrant, pastel-inspired art fits the story perfectly in ‘Old Man’s Journey.’ \u003ccite>(Broken Rules)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.oldmansjourney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Man’s Journey\u003c/a> \u003c/em>by Broken Rules is a touching story about a father, his mistakes, and how love can stand the test of time and distance. It starts as the protagonist, an old man, receives a letter and sets off on a worldwide journey, and every piece of scenery he passes evokes a memory. A bell you click reminds him of his wedding, a wharf brings back a memory of sailing with his love, and so on. The pastel and gouache-inspired art is vibrant, colorful, and well suited to its various quaint European landscapes.\u003c/p>\n\u003cp>Point-and-clicks usually use the cursor to move the character through a puzzle. In\u003cem> Old Man’s Journey\u003c/em>, the landscape itself becomes a puzzle. You click and drag the hills in the background up and down to help the main character proceed from scene to scene. It’s also a fitting way to play, given that our main character is an old man, and he moves like one—Mario, he’s not.\u003c/p>\n\u003cp>This game will likely appeal to kids since there is so much to play with in each scene. You can click any animal in the game and it will make some sort of sound. Much of the environment reacts when you simply move the cursor over it—for example, if you move your cursor below waterfalls, the water will flow around it, and the cursor’s pointer-finger shape makes you feel like you are poking and prodding at the world.\u003c/p>\n\u003cp>\u003cstrong>The \u003cem>Samorost\u003c/em> series\u003c/strong>\u003c/p>\n\u003cp>Amanita Design—the studio behind \u003cem>Samorost\u003c/em>—consistently demonstrates a knack for creating intriguing and whimsical worlds. In the \u003cem>Samorost\u003c/em> series, their team designs dreamlike landscapes by combining 2D drawings and detailed close up photos of real-life objects. Their games take something familiar, like dandelions or the roots of a tree, and renders them strange by reworking them into an alien landscape. [aside postid='arts_13889311']\u003c/p>\n\u003cp>In all three titles—\u003cem>\u003ca href=\"https://amanita-design.net/games/samorost-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost\u003c/a>, \u003ca href=\"https://amanita-design.net/games/samorost-2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 2\u003c/a>\u003c/em>, and \u003cem>\u003ca href=\"https://amanita-design.net/games/samorost3.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 3\u003c/a>\u003c/em>—you play as a little gnome, and each game has its own story. \u003cem>Samorost \u003c/em>tasks you with saving the planet and home of the protagonist. \u003cem>Samorost 2 \u003c/em>sends you on a quest to save the gnome’s dog after it gets kidnapped by aliens. And \u003cem>Samorost 3 \u003c/em>follows the gnome as it investigates the origins of a magical flute that falls from the sky just outside its house.\u003c/p>\n\u003cp>Many of the scenes in these games look like they were ripped straight out of \u003cem>Alice in Wonderland \u003c/em>and are just as strange. Almost immediately after starting the first game, you will encounter a slug with a human face that uses the photo of one of the developers. The scenes and characters you encounter are a true delight.\u003c/p>\n\u003cp>Growing up, I remember a family friend telling me I would outgrow video games one day. That day never came, but I think that sentiment represents this prevalent idea that video games are childish—the same way that children’s books were once seen as immature or simple. These games challenge the idea that playfulness makes video games a lower art form, and instead shows us that today, video games today can be both silly \u003cem>and \u003c/em>sophisticated.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ana Diaz is a freelance games writer and podcast host at MinnMax. She loves Pikachu and is based in Minneapolis, Minn.\u003c/em> \u003cem>She tweets at \u003ca href=\"https://twitter.com/pokachee\" target=\"_blank\" rel=\"noopener noreferrer\">@Pokachee\u003c/a>\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=For+The+Kid+In+Your+Life%2C+3+Video+Games+That+Play+Like+Storybooks&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Explore alien worlds, Nordic forests, and European countrysides in these point-and-click games that will keep kids entertained.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, I always saw playing video games as a natural extension of my interest in reading. To me, the fantastical worlds I explored in games mirrored those of my favorite children’s books like \u003cem>Where the Wild Things Are\u003c/em> and \u003cem>The Lorax. \u003c/em>Many of the games I played and the stories I read shared a similar sense of whimsy and adventure, and piqued my interest with intriguing art styles.\u003c/p>\n\u003cp>And that makes sense, given that some video games evoke the feeling of reading a great piece of children’s literature. This is especially true for the point-and-click genre (named after the way you play), which can make you feel like you’re turning the pages in a book as you progress from scene to scene, moving your character across a static, 2D illustrated background. And just like a children’s book, these games encourage you to stop and take in the scene as a whole.\u003c/p>\n\u003cp>With that in mind, here are three great games to play alongside the kids in your life. While none of them are specifically marketed towards children, they’re each still compelling and appropriate for younger players—and they don’t require a fancy console or prior experience playing video games. Although some of the puzzles in these games will be too difficult for a kid to figure out alone, they make for a wonderful time that you can share together. Try them sitting side by side, and huddle over the screen together as you tinker through these worlds.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Röki\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png\" alt=\"The Nordic forests (okay, and some monsters) of 'Röki.'\" width=\"750\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507-160x90.png 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Explore Nordic forests (okay, and some monsters) in ‘Röki.’ \u003ccite>(Polygon Treehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an essay for the \u003cem>New York Times Book Review\u003c/em>, editor Pamela Paul \u003ca href=\"https://www.nytimes.com/2011/09/18/books/review/the-childrens-authors-who-broke-the-rules.html\" target=\"_blank\" rel=\"noopener noreferrer\">discussed the contributions of classic children’s authors\u003c/a> like Maurice Sendak, Shel Silverstein, and Dr. Seuss, saying they “brought a shock of subversion to the genre—defying the notion that children’s books shouldn’t be scary, silly or sophisticated.” While all the games on this list speak to this sentiment to varying degrees, reading Paul’s words made me particularly think of \u003cem>\u003ca href=\"https://www.polygon-treehouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Röki\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Polygon Treehouse’s phenomenal debut title brings to life a dark, Scandinavian-inspired fairy tale through a contemporary retelling. \u003cem>Röki\u003c/em> follows Tove, a young girl, who is trying to save her family after they disappear. As she explores snow-covered Nordic forests, she encounters giant monsters and mystical talking trees with dozens of eyes and magical powers. It’s up to her to see if she can contact the spirits she needs to find her family. The characters in the game remind me of creatures from Hayao Miyazaki films like\u003cem> Princess Mononoke \u003c/em>or Sendak’s \u003cem>Where the Wild Things Are\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Röki\u003c/em> switches up the classic point-and-click formula; you’ll move using arrow keys rather than the mouse. However, the gameplay mainly stays true to the genre by having you drag and drop items to solve puzzles. I will say, the changes made make the game more playable. I appreciated little features like a button that makes all items glow, because then it becomes pretty obvious what each next step is.\u003c/p>\n\u003cp>While I think \u003cem>Röki’s \u003c/em>story will interest kids and adults alike, it does start off on a dark note as Tove loses both her father and her brother. So maybe watch a gameplay video beforehand if you aren’t sure it’s a good fit for a child.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Old Man’s Journey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg\" alt=\"The vibrant, pastel-inspired art of 'Old Man's Journey.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The vibrant, pastel-inspired art fits the story perfectly in ‘Old Man’s Journey.’ \u003ccite>(Broken Rules)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.oldmansjourney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Man’s Journey\u003c/a> \u003c/em>by Broken Rules is a touching story about a father, his mistakes, and how love can stand the test of time and distance. It starts as the protagonist, an old man, receives a letter and sets off on a worldwide journey, and every piece of scenery he passes evokes a memory. A bell you click reminds him of his wedding, a wharf brings back a memory of sailing with his love, and so on. The pastel and gouache-inspired art is vibrant, colorful, and well suited to its various quaint European landscapes.\u003c/p>\n\u003cp>Point-and-clicks usually use the cursor to move the character through a puzzle. In\u003cem> Old Man’s Journey\u003c/em>, the landscape itself becomes a puzzle. You click and drag the hills in the background up and down to help the main character proceed from scene to scene. It’s also a fitting way to play, given that our main character is an old man, and he moves like one—Mario, he’s not.\u003c/p>\n\u003cp>This game will likely appeal to kids since there is so much to play with in each scene. You can click any animal in the game and it will make some sort of sound. Much of the environment reacts when you simply move the cursor over it—for example, if you move your cursor below waterfalls, the water will flow around it, and the cursor’s pointer-finger shape makes you feel like you are poking and prodding at the world.\u003c/p>\n\u003cp>\u003cstrong>The \u003cem>Samorost\u003c/em> series\u003c/strong>\u003c/p>\n\u003cp>Amanita Design—the studio behind \u003cem>Samorost\u003c/em>—consistently demonstrates a knack for creating intriguing and whimsical worlds. In the \u003cem>Samorost\u003c/em> series, their team designs dreamlike landscapes by combining 2D drawings and detailed close up photos of real-life objects. Their games take something familiar, like dandelions or the roots of a tree, and renders them strange by reworking them into an alien landscape. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In all three titles—\u003cem>\u003ca href=\"https://amanita-design.net/games/samorost-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost\u003c/a>, \u003ca href=\"https://amanita-design.net/games/samorost-2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 2\u003c/a>\u003c/em>, and \u003cem>\u003ca href=\"https://amanita-design.net/games/samorost3.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 3\u003c/a>\u003c/em>—you play as a little gnome, and each game has its own story. \u003cem>Samorost \u003c/em>tasks you with saving the planet and home of the protagonist. \u003cem>Samorost 2 \u003c/em>sends you on a quest to save the gnome’s dog after it gets kidnapped by aliens. And \u003cem>Samorost 3 \u003c/em>follows the gnome as it investigates the origins of a magical flute that falls from the sky just outside its house.\u003c/p>\n\u003cp>Many of the scenes in these games look like they were ripped straight out of \u003cem>Alice in Wonderland \u003c/em>and are just as strange. Almost immediately after starting the first game, you will encounter a slug with a human face that uses the photo of one of the developers. The scenes and characters you encounter are a true delight.\u003c/p>\n\u003cp>Growing up, I remember a family friend telling me I would outgrow video games one day. That day never came, but I think that sentiment represents this prevalent idea that video games are childish—the same way that children’s books were once seen as immature or simple. These games challenge the idea that playfulness makes video games a lower art form, and instead shows us that today, video games today can be both silly \u003cem>and \u003c/em>sophisticated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ana Diaz is a freelance games writer and podcast host at MinnMax. She loves Pikachu and is based in Minneapolis, Minn.\u003c/em> \u003cem>She tweets at \u003ca href=\"https://twitter.com/pokachee\" target=\"_blank\" rel=\"noopener noreferrer\">@Pokachee\u003c/a>\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=For+The+Kid+In+Your+Life%2C+3+Video+Games+That+Play+Like+Storybooks&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Artists, Weirdos, Hellriders and Homies:' Thrasher Magazine Turns 40",
"headTitle": "‘Artists, Weirdos, Hellriders and Homies:’ Thrasher Magazine Turns 40 | KQED",
"content": "\u003cp>\u003cem>Playboy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Glamour.\u003c/em>\u003c/p>\n\u003cp>\u003cem>O.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Teen Vogue.\u003c/em>\u003c/p>\n\u003cp>All these magazines have something in common.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re no longer in print.\u003c/p>\n\u003cp>While these—and many other—publications have shifted to digital only in recent years, there’s a print magazine bucking the trends and still going strong: \u003cem>Thrasher \u003c/em>magazine. Created by skateboarders for skateboarders, \u003cem>Thrasher\u003c/em> celebrates its 40th anniversary this month.\u003c/p>\n\u003cp>Founded in 1981 by Eric Swenson and Fausto Vitello, the San Francisco-based publication has been busting out new issues every month for decades. \u003cem>Thrasher\u003c/em> captures the gnarly antics of skaters as they shred pools, bomb hills and hurl themselves down rails and staircases.\u003c/p>\n\u003cp>“Back then there weren’t that many videos, so that was our source of skateboarding,” Mike Carroll, a professional skateboarder, said.\u003c/p>\n\u003cp>Carroll started reading \u003cem>Thrasher\u003c/em> as a kid in the 80’s. In 1994, he was given the coveted title of \u003cem>Thrasher\u003c/em> Skater of the Year and he’s been on numerous covers.\u003c/p>\n\u003cfigure id=\"attachment_13891250\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891250\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg\" alt=\"Mike Carroll in action. The skateboarder started reading 'Thrasher' as a kid and was Skater of the Year in 1994.\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mike Carroll started reading ‘Thrasher’ as a kid; he was Skater of the Year in 1994. \u003ccite>(Sean Dolinsky /Thrasher Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Skateboarding is so infinite in so many different ways of your love for skateboarding,” he said. “If you’re looking at \u003cem>Thrasher,\u003c/em> reading \u003cem>Thrasher\u003c/em>, there’s so many different things that you can learn from the magazine.”\u003c/p>\n\u003cp>It’s where skaters learn what shoes are in, what their favorite skaters are up to and what bands are worth checking out. Punk rockers like Black Flag and rappers like Tyler the Creator have graced its pages. But most importantly, \u003cem>Thrasher\u003c/em> is a source of inspiring, cutting edge skateboarding.\u003c/p>\n\u003cp>Some readers rip out the magazine pages and posters and tape them to their bedroom walls.\u003c/p>\n\u003cp>“I remember the pictures that I had on my wall as a kid,” Michael Burnett said. Today he’s the Editor in Chief of \u003cem>Thrasher\u003c/em>. He’s the successor of the late, iconic editor \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Skateboarder-Thrasher-editor-Jake-Phelps-dies-at-13690396.php\" target=\"_blank\" rel=\"noopener noreferrer\">Jake Phelps\u003c/a>. “You would stare at this thing. It was like the Led Zeppelin album cover. You’d get this magazine and you would look at it over and over again. You’re like, how did they get in the air?”\u003c/p>\n\u003cp>Some of the epic skateboarding moments captured in the magazine’s covers include Milton Martinez doing a \u003ca href=\"https://www.youtube.com/watch?v=BAqNOneGRiM&t=557s\" target=\"_blank\" rel=\"noopener noreferrer\">kickflip off the roof of a car wash\u003c/a> in Los Angeles and Andrew Reynolds doing a \u003ca href=\"https://www.youtube.com/watch?v=meepxVVGvYk&t=86s\" target=\"_blank\" rel=\"noopener noreferrer\">backside flip down a staircase\u003c/a> at Wallenberg High School. But perhaps the crown jewel of \u003cem>Thrasher\u003c/em> covers is a photo of \u003ca href=\"https://www.thrashermagazine.com/articles/magazine/november-1997/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Wray in the sky\u003c/a> as he ollies from one water tower to another. [aside postid='pop_85006']\u003c/p>\n\u003cp>Pro skater Alexis Sablone remembers seeing the Wray cover when she was young. “He’s just suspended in midair. I mean, if he didn’t make it, he would die,” she said.\u003c/p>\n\u003cp>Sablone is also \u003ca href=\"https://www.thrashermagazine.com/articles/videos/cons-seize-the-seconds-video/\" target=\"_blank\" rel=\"noopener noreferrer\">featured in the magazine\u003c/a>. In addition to putting out a skate video in \u003cem>Thrasher\u003c/em>, she landed a spot on Team USA before skateboarding’s Olympic debut was postponed last year.\u003c/p>\n\u003cp>Sablone says that when most people see a simple bench or planter, skaters like her see an obstacle to conquer. “You’re constantly looking for skate spots in just your everyday environment,” she said. “It could be a street you’ve gone down a million times, but you always have one eye out for something architecturally strange or something where you’re like ‘That’s skatable.'”\u003c/p>\n\u003cp>There are so many ways to skate, after all. There are no rules in skateboarding. But what every skater has in common is an intimate knowledge of what it’s like to slam into the ground. Sablone says landing tricks can be highly demanding.\u003c/p>\n\u003cfigure id=\"attachment_13891251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg\" alt=\"Alexis Sablone in action. The skateboarder says she's constantly looking for skate spots.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Sablone says she’s constantly looking for skate spots. \u003ccite>(Jonathan Mehring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It becomes like this personal battle,” Sablone said. “It can be the most frustrating thing ever when it’s not going well—and that happens a lot—or it can be the thing that feels the best.”\u003c/p>\n\u003cp>Editor Burnett says there’s no cheating in skateboarding. It’s just you, the board and the concrete. It’s not like you can fake breaking boards or bones.\u003c/p>\n\u003cp>Despite their commitment to all things skateboarding, \u003cem>Thrasher\u003c/em> doesn’t cover competitions like the X Games and they don’t plan to cover the Olympics either.\u003c/p>\n\u003cp>“I look at skateboarding more as art than sport,” Atiba Jefferson, \u003cem>Thrasher\u003c/em> staff photographer, said.\u003c/p>\n\u003cp>A legend in his own right, Jefferson has been on many adventures with skateboarding’s biggest stars. Some skaters, like Jefferson, say that skateboarding is about more than doing a bunch of tricks for points. [aside postid='news_11733418']\u003c/p>\n\u003cp>“You could put guitar playing in the Olympics if you really wanted to. It’s a physical thing, right?” he said. Instead, \u003cem>Thrasher\u003c/em> creators focus more on the skating that happens in the streets.\u003c/p>\n\u003cp>Still, Burnett knows there’s room to grow the skate community. He’s expressed interest in getting everyone who loves skateboarding involved.\u003c/p>\n\u003cp>There are 488 \u003cem>Thrasher\u003c/em> issues. But look at the covers, you’ll quickly see that most of them are photos of men. The number of women featured on the covers can be counted with one hand: three.\u003c/p>\n\u003cp>The magazine has featured more women pro skaters in recent years, but men still dominate the pages and covers.\u003c/p>\n\u003cp>“\u003cem>Thrasher\u003c/em> is one of the biggest, most influential publications in skateboarding. They really lack diversity,” Leo Baker said. Baker is a pro skater who has been featured in the magazine and also earned a spot on Team USA. Last year, they helped create \u003ca href=\"https://www.thrashermagazine.com/articles/on-glue-article/\">Glue Skateboards\u003c/a> with fellow skaters Cher Strauberry and Stephen Ostrowski. [aside postid='arts_13886143']\u003c/p>\n\u003cp>“When Stephen, Cher and I decided to start Glue, a huge part of that was just being able to skate with and be on a team with people that are queer,” Baker said.\u003c/p>\n\u003cp>Glue Skateboards, There Skateboards and The Skate Witches are among the many groups led by queer and women skaters that are helping expand the skate community.\u003c/p>\n\u003cp>“That’s what I love about skateboarding,” Burnett said. “Different groups around the world latch onto skating and make it their own. People get a little taste of it and then they customize it for their scene and their friends and what they’re doing. And that’s really exciting.”\u003c/p>\n\u003cp>In his editor’s note for the anniversary issue, Burnett writes that the magazine relies on, “the rippers, ragers, videographers, builders, artists, weirdos, hellriders and homies who keep on creating, keep on making skateboarding the beautiful, [f*****-up] thing that it is.”\u003c/p>\n\u003cp>It’s because of them that \u003cem>Thrasher\u003c/em> continues to bring skateboarding to people’s fingertips, month after month.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast. Petra Mayer and Milton Guevara adapted it for the Web. \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=%27Artists%2C+Weirdos%2C+Hellriders+And+Homies%3A%27+Thrasher+Magazine+Turns+40&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Playboy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Glamour.\u003c/em>\u003c/p>\n\u003cp>\u003cem>O.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Teen Vogue.\u003c/em>\u003c/p>\n\u003cp>All these magazines have something in common.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re no longer in print.\u003c/p>\n\u003cp>While these—and many other—publications have shifted to digital only in recent years, there’s a print magazine bucking the trends and still going strong: \u003cem>Thrasher \u003c/em>magazine. Created by skateboarders for skateboarders, \u003cem>Thrasher\u003c/em> celebrates its 40th anniversary this month.\u003c/p>\n\u003cp>Founded in 1981 by Eric Swenson and Fausto Vitello, the San Francisco-based publication has been busting out new issues every month for decades. \u003cem>Thrasher\u003c/em> captures the gnarly antics of skaters as they shred pools, bomb hills and hurl themselves down rails and staircases.\u003c/p>\n\u003cp>“Back then there weren’t that many videos, so that was our source of skateboarding,” Mike Carroll, a professional skateboarder, said.\u003c/p>\n\u003cp>Carroll started reading \u003cem>Thrasher\u003c/em> as a kid in the 80’s. In 1994, he was given the coveted title of \u003cem>Thrasher\u003c/em> Skater of the Year and he’s been on numerous covers.\u003c/p>\n\u003cfigure id=\"attachment_13891250\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891250\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg\" alt=\"Mike Carroll in action. The skateboarder started reading 'Thrasher' as a kid and was Skater of the Year in 1994.\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mike Carroll started reading ‘Thrasher’ as a kid; he was Skater of the Year in 1994. \u003ccite>(Sean Dolinsky /Thrasher Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Skateboarding is so infinite in so many different ways of your love for skateboarding,” he said. “If you’re looking at \u003cem>Thrasher,\u003c/em> reading \u003cem>Thrasher\u003c/em>, there’s so many different things that you can learn from the magazine.”\u003c/p>\n\u003cp>It’s where skaters learn what shoes are in, what their favorite skaters are up to and what bands are worth checking out. Punk rockers like Black Flag and rappers like Tyler the Creator have graced its pages. But most importantly, \u003cem>Thrasher\u003c/em> is a source of inspiring, cutting edge skateboarding.\u003c/p>\n\u003cp>Some readers rip out the magazine pages and posters and tape them to their bedroom walls.\u003c/p>\n\u003cp>“I remember the pictures that I had on my wall as a kid,” Michael Burnett said. Today he’s the Editor in Chief of \u003cem>Thrasher\u003c/em>. He’s the successor of the late, iconic editor \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Skateboarder-Thrasher-editor-Jake-Phelps-dies-at-13690396.php\" target=\"_blank\" rel=\"noopener noreferrer\">Jake Phelps\u003c/a>. “You would stare at this thing. It was like the Led Zeppelin album cover. You’d get this magazine and you would look at it over and over again. You’re like, how did they get in the air?”\u003c/p>\n\u003cp>Some of the epic skateboarding moments captured in the magazine’s covers include Milton Martinez doing a \u003ca href=\"https://www.youtube.com/watch?v=BAqNOneGRiM&t=557s\" target=\"_blank\" rel=\"noopener noreferrer\">kickflip off the roof of a car wash\u003c/a> in Los Angeles and Andrew Reynolds doing a \u003ca href=\"https://www.youtube.com/watch?v=meepxVVGvYk&t=86s\" target=\"_blank\" rel=\"noopener noreferrer\">backside flip down a staircase\u003c/a> at Wallenberg High School. But perhaps the crown jewel of \u003cem>Thrasher\u003c/em> covers is a photo of \u003ca href=\"https://www.thrashermagazine.com/articles/magazine/november-1997/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Wray in the sky\u003c/a> as he ollies from one water tower to another. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pro skater Alexis Sablone remembers seeing the Wray cover when she was young. “He’s just suspended in midair. I mean, if he didn’t make it, he would die,” she said.\u003c/p>\n\u003cp>Sablone is also \u003ca href=\"https://www.thrashermagazine.com/articles/videos/cons-seize-the-seconds-video/\" target=\"_blank\" rel=\"noopener noreferrer\">featured in the magazine\u003c/a>. In addition to putting out a skate video in \u003cem>Thrasher\u003c/em>, she landed a spot on Team USA before skateboarding’s Olympic debut was postponed last year.\u003c/p>\n\u003cp>Sablone says that when most people see a simple bench or planter, skaters like her see an obstacle to conquer. “You’re constantly looking for skate spots in just your everyday environment,” she said. “It could be a street you’ve gone down a million times, but you always have one eye out for something architecturally strange or something where you’re like ‘That’s skatable.'”\u003c/p>\n\u003cp>There are so many ways to skate, after all. There are no rules in skateboarding. But what every skater has in common is an intimate knowledge of what it’s like to slam into the ground. Sablone says landing tricks can be highly demanding.\u003c/p>\n\u003cfigure id=\"attachment_13891251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg\" alt=\"Alexis Sablone in action. The skateboarder says she's constantly looking for skate spots.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Sablone says she’s constantly looking for skate spots. \u003ccite>(Jonathan Mehring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It becomes like this personal battle,” Sablone said. “It can be the most frustrating thing ever when it’s not going well—and that happens a lot—or it can be the thing that feels the best.”\u003c/p>\n\u003cp>Editor Burnett says there’s no cheating in skateboarding. It’s just you, the board and the concrete. It’s not like you can fake breaking boards or bones.\u003c/p>\n\u003cp>Despite their commitment to all things skateboarding, \u003cem>Thrasher\u003c/em> doesn’t cover competitions like the X Games and they don’t plan to cover the Olympics either.\u003c/p>\n\u003cp>“I look at skateboarding more as art than sport,” Atiba Jefferson, \u003cem>Thrasher\u003c/em> staff photographer, said.\u003c/p>\n\u003cp>A legend in his own right, Jefferson has been on many adventures with skateboarding’s biggest stars. Some skaters, like Jefferson, say that skateboarding is about more than doing a bunch of tricks for points. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You could put guitar playing in the Olympics if you really wanted to. It’s a physical thing, right?” he said. Instead, \u003cem>Thrasher\u003c/em> creators focus more on the skating that happens in the streets.\u003c/p>\n\u003cp>Still, Burnett knows there’s room to grow the skate community. He’s expressed interest in getting everyone who loves skateboarding involved.\u003c/p>\n\u003cp>There are 488 \u003cem>Thrasher\u003c/em> issues. But look at the covers, you’ll quickly see that most of them are photos of men. The number of women featured on the covers can be counted with one hand: three.\u003c/p>\n\u003cp>The magazine has featured more women pro skaters in recent years, but men still dominate the pages and covers.\u003c/p>\n\u003cp>“\u003cem>Thrasher\u003c/em> is one of the biggest, most influential publications in skateboarding. They really lack diversity,” Leo Baker said. Baker is a pro skater who has been featured in the magazine and also earned a spot on Team USA. Last year, they helped create \u003ca href=\"https://www.thrashermagazine.com/articles/on-glue-article/\">Glue Skateboards\u003c/a> with fellow skaters Cher Strauberry and Stephen Ostrowski. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Stephen, Cher and I decided to start Glue, a huge part of that was just being able to skate with and be on a team with people that are queer,” Baker said.\u003c/p>\n\u003cp>Glue Skateboards, There Skateboards and The Skate Witches are among the many groups led by queer and women skaters that are helping expand the skate community.\u003c/p>\n\u003cp>“That’s what I love about skateboarding,” Burnett said. “Different groups around the world latch onto skating and make it their own. People get a little taste of it and then they customize it for their scene and their friends and what they’re doing. And that’s really exciting.”\u003c/p>\n\u003cp>In his editor’s note for the anniversary issue, Burnett writes that the magazine relies on, “the rippers, ragers, videographers, builders, artists, weirdos, hellriders and homies who keep on creating, keep on making skateboarding the beautiful, [f*****-up] thing that it is.”\u003c/p>\n\u003cp>It’s because of them that \u003cem>Thrasher\u003c/em> continues to bring skateboarding to people’s fingertips, month after month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Siegfried Fischbacher, one-half of the famous magician duo Siegfried & Roy, died Wednesday night at his home in Las Vegas from pancreatic cancer. He was 81.\u003c/p>\n\u003cp>Fischbacher’s death comes just months after his performance partner, Roy Horn, died from complications related to COVID-19 at the age of 75.\u003c/p>\n\u003cp>A statement from Siegfried & Roy’s press office said Fischbacher had a unique ability to “perform complicated magic at lightning speed.” This made him a perfect foil for Horn, a “perpetual dreamer.”\u003c/p>\n\u003cp>“Their complementary skills created a live entertainment phenomenon unlike anything that came before.”\u003c/p>\n\u003cfigure id=\"attachment_13891243\" class=\"wp-caption aligncenter\" style=\"max-width: 781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png\" alt=\"Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987.\" width=\"781\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-768x678.png 768w\" sizes=\"(max-width: 781px) 100vw, 781px\">\u003cfigcaption class=\"wp-caption-text\">Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987. \u003ccite>(Scott McKiernan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siegfried Fischbacher was born in Germany in 1939. He loved magic so much growing up that he worked as an entertainer on a cruise ship. That’s where he met Roy Horn and began a 50-year partnership that took them to Las Vegas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Siegfried & Roy magic show was an opportunity for extravagance. By 1990, they filled the stage at the MGM Mirage Hotel and Casino with costumes, smoke machines, animals and set designs that made them a destination for millions on the Las Vegas entertainment circuit.\u003c/p>\n\u003cp>Then, in 2003, a 380-pound white tiger attacked Roy Horn onstage and ended the duo’s Vegas show. The two formally retired in 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://newsroom.mgmresorts.com/road-to-mirage-in-las-vegas-renamed-siegfried-roy-drive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">street on the Las Vegas strip was named\u003c/a> after them last year, shortly after Horn’s death.\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=Siegfried+Fischbacher+Of+Siegfried+%26+Roy+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Siegfried Fischbacher, one-half of the famous magician duo Siegfried & Roy, died Wednesday night at his home in Las Vegas from pancreatic cancer. He was 81.\u003c/p>\n\u003cp>Fischbacher’s death comes just months after his performance partner, Roy Horn, died from complications related to COVID-19 at the age of 75.\u003c/p>\n\u003cp>A statement from Siegfried & Roy’s press office said Fischbacher had a unique ability to “perform complicated magic at lightning speed.” This made him a perfect foil for Horn, a “perpetual dreamer.”\u003c/p>\n\u003cp>“Their complementary skills created a live entertainment phenomenon unlike anything that came before.”\u003c/p>\n\u003cfigure id=\"attachment_13891243\" class=\"wp-caption aligncenter\" style=\"max-width: 781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png\" alt=\"Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987.\" width=\"781\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-768x678.png 768w\" sizes=\"(max-width: 781px) 100vw, 781px\">\u003cfigcaption class=\"wp-caption-text\">Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987. \u003ccite>(Scott McKiernan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siegfried Fischbacher was born in Germany in 1939. He loved magic so much growing up that he worked as an entertainer on a cruise ship. That’s where he met Roy Horn and began a 50-year partnership that took them to Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Siegfried & Roy magic show was an opportunity for extravagance. By 1990, they filled the stage at the MGM Mirage Hotel and Casino with costumes, smoke machines, animals and set designs that made them a destination for millions on the Las Vegas entertainment circuit.\u003c/p>\n\u003cp>Then, in 2003, a 380-pound white tiger attacked Roy Horn onstage and ended the duo’s Vegas show. The two formally retired in 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://newsroom.mgmresorts.com/road-to-mirage-in-las-vegas-renamed-siegfried-roy-drive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">street on the Las Vegas strip was named\u003c/a> after them last year, shortly after Horn’s death.\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=Siegfried+Fischbacher+Of+Siegfried+%26+Roy+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations",
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"content": "\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jmrbyfL2dSY\u003c/p>\n\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\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=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\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/jmrbyfL2dSY'\n title='//www.youtube.com/embed/jmrbyfL2dSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\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=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Wonder Woman 1984’ and the One-Villain-Too-Many Problem | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) [aside postid='pop_101858']\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XW2E2Fnh52w\u003c/p>\n\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. [aside postid='pop_12290']\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. [aside postid='pop_101544']\u003c/p>\n\u003cp>Plus? Not for nothing? If you grew up with the Lynda Carter Wonder Woman, and/or the \u003cem>Super Friends\u003c/em> Saturday morning cartoon, you’ll want to wait for the moment, one hour and ten minutes in to the film’s running time, when something happens. A something that would, in a crowded, opening-night theater, elicit a spontaneous cheer of pure, unfettered nerd-joy—a phenomenon unique to the superhero film genre, and its greatest gift to the world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\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/XW2E2Fnh52w'\n title='//www.youtube.com/embed/XW2E2Fnh52w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "India's Female Superhero and Her Flying Tiger are Out to Fight the Pandemic",
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"content": "\u003cp>Indian superhero Priya has battled rape, acid attacks and trafficking. And now she’s fighting the new coronavirus.\u003c/p>\n\u003cp>\u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priya’s Mask\u003c/em>\u003c/a> is the latest installation in \u003cem>Priya\u003c/em>, the hit comic book series targeted to Indian children. This time, Priya and her flying tiger Sahas befriend a little girl named Meena to show the sacrifices made by frontline health-care workers—and why it’s important to be courageous and compassionate during the pandemic.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">15-page comic book\u003c/a>, \u003ca href=\"https://www.dropbox.com/s/vsd8pqiprna9onu/Priyas_Mask_Comic_English.pdf?dl=0\" target=\"_blank\" rel=\"noopener noreferrer\">available to download\u003c/a> for free online, comes with a two-minute animated film, featuring the voices of Bollywood stars such as Vidya Balan and Mrunal Thakur. Both premiered in London at the \u003ca href=\"https://www.globalhealthfilm.org/pages/4-global-health-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Global Health Film Festival\u003c/a> in December.\u003c/p>\n\u003cp>“When we start being anxious and thinking about ourselves, we need someone to tell us to think about the sacrifices people are making to make sure we are safe,” says Shubhra Prakash, who wrote the script for \u003cem>Priya’s Mask\u003c/em>. In essence, she says, everyone needs a Priya to make sense of a world turned upside down.\u003c/p>\n\u003cp>The character of Priya, clad in a traditional outfit worn by Indian women, the \u003cem>salwar kameez\u003c/em>, was created by Ram Devineni, who is Indian American, in 2014. The idea was to use comic books to help children in India understand difficult topics—especially those that are heavily stigmatized.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first comic, \u003cem>Priya’s Shakti\u003c/em>, was developed in response to a brutal gang rape of a young woman in a New Delhi bus in 2012 who died as a result of her injuries. It portrays Priya as a rape survivor fighting stigma and sexual violence. There’s also \u003cem>Priya’s Mirror\u003c/em>, about acid attacks, and \u003cem>Priya and the Lost Girls\u003c/em>, about freeing young women entrapped in the sex industry.\u003c/p>\n\u003cp>The comic series has earned critical acclaim, including the honor of “gender equality champion,” by U.N. Women and attention from the international press. And it has garnered \u003ca href=\"https://nabshow.com/2020/thought-gallery/ram-devineni/\" target=\"_blank\" rel=\"noopener noreferrer\">millions of book downloads\u003c/a>, finding an audience in India and beyond.\u003c/p>\n\u003cp>Devineni and his team started envisioning \u003cem>Priya’s Mask \u003c/em>in May after the U.S. Embassy in Delhi invited them to apply for a grant.”\u003c/p>\n\u003cp>One of the motivations to bring back Priya during the pandemic was to tackle false information, says Devineni. “There was so much disinformation being spread on social media about the virus, blaming people of different nationalities, religions, even poor people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yU4tznAFevg\u003c/p>\n\u003cp>In the new comic, Priya invites Meena to join her and Sahas—Hindi for “courage”—on a magical ride through the city. Along the way to the hospital, where Meena’s mother is a frontline health worker, they see her friend who misses her grandmother’s hugs and Meena’s favorite ice-cream parlor, now empty because of the lockdown.\u003c/p>\n\u003cp>Meena also gets a bird’s eye (or tiger’s eye) view of her city and hears all the pandemic disinformation bubbling around: Someone says there is no virus, and another person says only the poor get it.\u003c/p>\n\u003cp>Then Priya hops across the border to Pakistan where she teams up with another iconic South Asian female superhero: \u003ca href=\"https://www.washingtonpost.com/blogs/she-the-people/wp/2013/08/01/burka-avenger-pakistans-new-superhero/\" target=\"_blank\" rel=\"noopener noreferrer\">Jiya\u003c/a> from Pakistan’s comic series \u003cem>Burka Avenger\u003c/em>. Together, they tackle the mustachioed (and unmasked) Baba Kaboom, who wants to spread the virus all over the town of Chutneyville.\u003c/p>\n\u003cp>Devineni had long wanted to connect Jiya and Priya, and the virus gave him that opportunity. “The virus doesn’t respect borders,” says Devineni. “I thought we could come together to fight the epidemic.”\u003c/p>\n\u003cp>For the team behind \u003cem>Priya’s Mask\u003c/em>, scattered over different cities and continents, the comic became a “safe space, our bubble,” says Indrani Ray, co-producer of the animated film.\u003c/p>\n\u003cp>Devineni’s parents are both doctors. His father, who has been a pediatrician since 1975 in New Jersey, shut down his practice because of the pandemic. He’s attended the funerals of two of his friends via Zoom. Co-producer Tanvi Gandhi says her family lost someone very close to them to COVID-19. “Not being able to say goodbye, it was an experience none of us will ever forget,” she says.\u003c/p>\n\u003cp>Pop culture such as comics can make it easier to help important messages get through, says \u003ca href=\"https://us.breakthrough.tv/team/mallika-dutt/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallika Dutt\u003c/a>, an Indian American social justice advocate and the founder of Breakthrough, a global organization that tackles hot-button social issues in creative ways, such as a video game about U.S. immigration detention and an album of ballads to talk about domestic violence. “Popular culture is a powerful way to influence social change,” says Dutt, who says she loved the images in \u003cem>Priya’s Mask\u003c/em>. “It gets people to listen and react in a way that doesn’t feel didactic and lecturing.”\u003c/p>\n\u003cp>Devineni says when the team envisioned\u003cem> Priya’s Mask\u003c/em> six months ago, they had no idea if it would still be relevant by the time the film and comic got done. But one thing he knew for sure. “Priya is a survivor of gender-based violence. She’s a survivor, not a victim,” he says.\u003c/p>\n\u003cp>A U.S. version of the animated film, featuring Hollywood actress Rosanna Arquette as the voice of Sahas, will soon be released. And when it’s safer, the U.S. Embassy in New Delhi plans to distribute free copies of the book to Indian schoolchildren.\u003c/p>\n\u003cp>The team is already planning a future installment that will send a positive message about vaccines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Based in Kolkata, Sandip Roy is the author of the novel \u003c/em>\u003ca href=\"http://www.npr.org/2015/02/24/383581229/family-secrets-and-mango-chutney-in-dont-let-him-know\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Let Him Know\u003c/a>. \u003cem>He tweets @sandipr.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=India%27s+Female+Superhero+And+Her+Flying+Tiger+Are+Out+To+Fight+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Indian superhero Priya has battled rape, acid attacks and trafficking. And now she’s fighting the new coronavirus.\u003c/p>\n\u003cp>\u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priya’s Mask\u003c/em>\u003c/a> is the latest installation in \u003cem>Priya\u003c/em>, the hit comic book series targeted to Indian children. This time, Priya and her flying tiger Sahas befriend a little girl named Meena to show the sacrifices made by frontline health-care workers—and why it’s important to be courageous and compassionate during the pandemic.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">15-page comic book\u003c/a>, \u003ca href=\"https://www.dropbox.com/s/vsd8pqiprna9onu/Priyas_Mask_Comic_English.pdf?dl=0\" target=\"_blank\" rel=\"noopener noreferrer\">available to download\u003c/a> for free online, comes with a two-minute animated film, featuring the voices of Bollywood stars such as Vidya Balan and Mrunal Thakur. Both premiered in London at the \u003ca href=\"https://www.globalhealthfilm.org/pages/4-global-health-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Global Health Film Festival\u003c/a> in December.\u003c/p>\n\u003cp>“When we start being anxious and thinking about ourselves, we need someone to tell us to think about the sacrifices people are making to make sure we are safe,” says Shubhra Prakash, who wrote the script for \u003cem>Priya’s Mask\u003c/em>. In essence, she says, everyone needs a Priya to make sense of a world turned upside down.\u003c/p>\n\u003cp>The character of Priya, clad in a traditional outfit worn by Indian women, the \u003cem>salwar kameez\u003c/em>, was created by Ram Devineni, who is Indian American, in 2014. The idea was to use comic books to help children in India understand difficult topics—especially those that are heavily stigmatized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first comic, \u003cem>Priya’s Shakti\u003c/em>, was developed in response to a brutal gang rape of a young woman in a New Delhi bus in 2012 who died as a result of her injuries. It portrays Priya as a rape survivor fighting stigma and sexual violence. There’s also \u003cem>Priya’s Mirror\u003c/em>, about acid attacks, and \u003cem>Priya and the Lost Girls\u003c/em>, about freeing young women entrapped in the sex industry.\u003c/p>\n\u003cp>The comic series has earned critical acclaim, including the honor of “gender equality champion,” by U.N. Women and attention from the international press. And it has garnered \u003ca href=\"https://nabshow.com/2020/thought-gallery/ram-devineni/\" target=\"_blank\" rel=\"noopener noreferrer\">millions of book downloads\u003c/a>, finding an audience in India and beyond.\u003c/p>\n\u003cp>Devineni and his team started envisioning \u003cem>Priya’s Mask \u003c/em>in May after the U.S. Embassy in Delhi invited them to apply for a grant.”\u003c/p>\n\u003cp>One of the motivations to bring back Priya during the pandemic was to tackle false information, says Devineni. “There was so much disinformation being spread on social media about the virus, blaming people of different nationalities, religions, even poor people.”\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/yU4tznAFevg'\n title='//www.youtube.com/embed/yU4tznAFevg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the new comic, Priya invites Meena to join her and Sahas—Hindi for “courage”—on a magical ride through the city. Along the way to the hospital, where Meena’s mother is a frontline health worker, they see her friend who misses her grandmother’s hugs and Meena’s favorite ice-cream parlor, now empty because of the lockdown.\u003c/p>\n\u003cp>Meena also gets a bird’s eye (or tiger’s eye) view of her city and hears all the pandemic disinformation bubbling around: Someone says there is no virus, and another person says only the poor get it.\u003c/p>\n\u003cp>Then Priya hops across the border to Pakistan where she teams up with another iconic South Asian female superhero: \u003ca href=\"https://www.washingtonpost.com/blogs/she-the-people/wp/2013/08/01/burka-avenger-pakistans-new-superhero/\" target=\"_blank\" rel=\"noopener noreferrer\">Jiya\u003c/a> from Pakistan’s comic series \u003cem>Burka Avenger\u003c/em>. Together, they tackle the mustachioed (and unmasked) Baba Kaboom, who wants to spread the virus all over the town of Chutneyville.\u003c/p>\n\u003cp>Devineni had long wanted to connect Jiya and Priya, and the virus gave him that opportunity. “The virus doesn’t respect borders,” says Devineni. “I thought we could come together to fight the epidemic.”\u003c/p>\n\u003cp>For the team behind \u003cem>Priya’s Mask\u003c/em>, scattered over different cities and continents, the comic became a “safe space, our bubble,” says Indrani Ray, co-producer of the animated film.\u003c/p>\n\u003cp>Devineni’s parents are both doctors. His father, who has been a pediatrician since 1975 in New Jersey, shut down his practice because of the pandemic. He’s attended the funerals of two of his friends via Zoom. Co-producer Tanvi Gandhi says her family lost someone very close to them to COVID-19. “Not being able to say goodbye, it was an experience none of us will ever forget,” she says.\u003c/p>\n\u003cp>Pop culture such as comics can make it easier to help important messages get through, says \u003ca href=\"https://us.breakthrough.tv/team/mallika-dutt/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallika Dutt\u003c/a>, an Indian American social justice advocate and the founder of Breakthrough, a global organization that tackles hot-button social issues in creative ways, such as a video game about U.S. immigration detention and an album of ballads to talk about domestic violence. “Popular culture is a powerful way to influence social change,” says Dutt, who says she loved the images in \u003cem>Priya’s Mask\u003c/em>. “It gets people to listen and react in a way that doesn’t feel didactic and lecturing.”\u003c/p>\n\u003cp>Devineni says when the team envisioned\u003cem> Priya’s Mask\u003c/em> six months ago, they had no idea if it would still be relevant by the time the film and comic got done. But one thing he knew for sure. “Priya is a survivor of gender-based violence. She’s a survivor, not a victim,” he says.\u003c/p>\n\u003cp>A U.S. version of the animated film, featuring Hollywood actress Rosanna Arquette as the voice of Sahas, will soon be released. And when it’s safer, the U.S. Embassy in New Delhi plans to distribute free copies of the book to Indian schoolchildren.\u003c/p>\n\u003cp>The team is already planning a future installment that will send a positive message about vaccines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Based in Kolkata, Sandip Roy is the author of the novel \u003c/em>\u003ca href=\"http://www.npr.org/2015/02/24/383581229/family-secrets-and-mango-chutney-in-dont-let-him-know\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Let Him Know\u003c/a>. \u003cem>He tweets @sandipr.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=India%27s+Female+Superhero+And+Her+Flying+Tiger+Are+Out+To+Fight+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2020: The Year Small Pleasures Finally Eclipsed Celebrity Culture",
"headTitle": "2020: The Year Small Pleasures Finally Eclipsed Celebrity Culture | KQED",
"content": "\u003cp>If you’re looking for a perfect encapsulation of what happened to celebrity culture in 2020, look no further than this Twitter thread that emerged last week.\u003c/p>\n\u003cp>https://twitter.com/warrenleightTV/status/1336817740078845955\u003c/p>\n\u003cp>https://twitter.com/warrenleightTV/status/1336817747699904512\u003c/p>\n\u003cp>https://twitter.com/warrenleightTV/status/1336817757455872005\u003c/p>\n\u003cp>Enthusiastic bird watching is nothing new, of course, especially in New York City. But in December 2020, seeing a large group of photographers raving over a bird instead of a celebrity isn’t just less surprising than it would’ve been in January, it’s somehow infinitely more relatable. Because as everyone has struggled to keep their heads above the proverbial flood waters for the last 10 months, these kinds of small pleasures have dominated all of our lives. And they’ve come remarkably close to decimating celebrity culture as a national pastime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There can be no doubt that 2020 has forced us to reevaluate all priorities: our careers, homes, families, relationships—even \u003ca href=\"https://www.kqed.org/arts/13883244/how-sheltering-in-place-is-shifting-womens-beauty-standards\" target=\"_blank\" rel=\"noopener noreferrer\">our appearances\u003c/a>. But caring about celebrities was one of the very first things to go by the wayside when normal life unceremoniously shut down in March.\u003c/p>\n\u003cp>It’s not hard to pinpoint the exact moment when we turned our backs either. It was this:\u003c/p>\n\u003cp>https://twitter.com/ashleyfeinberg/status/1240484129222856705\u003c/p>\n\u003cp>Gal Gadot et al.’s ill-advised, cringe-worthy, patronizing, self-indulgent response to a global pandemic was a cold bucket of water on the head, at the precise moment we neither wanted nor needed one. But it also woke us up. Overnight, celebrity culture went from providing a casual mental escape to being so far beyond the realms of real—the real stress, real fear, real discomfort we were all feeling—that it became utterly and instantaneously unpalatable. [aside postid='arts_13877066']\u003c/p>\n\u003cp>That was exacerbated by celebrities telling us how to handle the pandemic from the comforts of their \u003ca href=\"https://www.instagram.com/tv/B92YsciHcUu/\" target=\"_blank\" rel=\"noopener noreferrer\">mansions\u003c/a>, their \u003ca href=\"https://www.youtube.com/watch?v=4HtpM7XvUnQ\" target=\"_blank\" rel=\"noopener noreferrer\">hot tubs\u003c/a>, their \u003ca href=\"https://www.instagram.com/p/B90q7dpAnHW\" target=\"_blank\" rel=\"noopener noreferrer\">meditation retreats\u003c/a>, and their \u003ca href=\"https://www.instagram.com/p/B9BxGPqFfpw/\" target=\"_blank\" rel=\"noopener noreferrer\">first-class seats\u003c/a> on \u003ca href=\"https://www.instagram.com/p/B9kwcbPnFPo/\" target=\"_blank\" rel=\"noopener noreferrer\">airplanes\u003c/a>. By the time a group of\u003ca href=\"https://www.kqed.org/arts/13881801/anti-racism-celeb-psa-i-take-responsibility-is-the-new-imagine\" target=\"_blank\" rel=\"noopener noreferrer\"> overwrought white actors declared\u003c/a> in June—in the aftermath of the \u003ca href=\"https://www.kqed.org/news/11823403/george-floyd-anti-racism-and-protests-against-police-violence-echo-globally\" target=\"_blank\" rel=\"noopener noreferrer\">killing of George Floyd\u003c/a>—that they were taking responsibility for turning blind eyes to racial injustice, the public greeted it by collectively rolling theirs. Hell, by the end of 2020, even Ellen DeGeneres—previously one of America’s most beloved TV hosts—was \u003cem>persona non grata, \u003c/em>after allegations of her \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">toxic workplace\u003c/a> emerged.\u003c/p>\n\u003cp>In my role as a pop culture journalist this year, the shift has been palpable. By the end of spring, it was abundantly clear that KQED Arts & Culture readers were suddenly more interested in hearing about \u003ca href=\"https://www.kqed.org/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal\" target=\"_blank\" rel=\"noopener noreferrer\">jigsaw puzzles\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13880317/escaped-goats-in-san-jose-live-out-our-shelter-in-place-fantasies\" target=\"_blank\" rel=\"noopener noreferrer\">escaped goats\u003c/a> than about \u003ca href=\"https://www.kqed.org/arts/13878920/meghan-and-harry-take-stonewalling-uk-tabloids-to-a-new-level\" target=\"_blank\" rel=\"noopener noreferrer\">Harry and Meghan\u003c/a>. (I knew I was really in trouble after a \u003ca href=\"https://www.kqed.org/arts/13877883/dolly-parton-wants-to-read-us-bedtime-stories-so-everything-is-fine-now\" target=\"_blank\" rel=\"noopener noreferrer\">story about Dolly Parton\u003c/a> flopped.) My job, almost overnight, became about self-care and self-contained pastimes that were firmly outside of the realms of the rich and the famous. The upper crust, it seemed, had been rendered largely irrelevant, almost overnight.\u003c/p>\n\u003cp>The public’s relationship with celebrities was further disconnected after the entertainment industry all but ground to a halt. \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">Concert tours were delayed\u003c/a> indefinitely, a shocking number of \u003ca href=\"https://editorial.rottentomatoes.com/article/breakdown-of-2020-movie-delays-and-when-they-will-hit-theaters/\" target=\"_blank\" rel=\"noopener noreferrer\">movie releases were postponed\u003c/a> until 2021, and TV shows either stopped dead in their tracks, or were forced to come up with complicated production solutions. (Oddly, this actually worked to benefit viewers in some cases. \u003cem>The Great British Baking Show\u003c/em>’s quarantined contestants were closer than ever, for one. And in lieu of making Season 2, HBO’s \u003cem>Euphoria\u003c/em> aired a two-person, one-hour\u003ca href=\"https://www.youtube.com/watch?v=uY0_7wPGJlk\" target=\"_blank\" rel=\"noopener noreferrer\"> special\u003c/a> in December that should be remembered as one of the most thought-provoking hours of television … well, \u003cem>ever\u003c/em>.)\u003c/p>\n\u003cp>Another factor influencing our level of interest in famous people was a sudden drop in commuting time across the nation. According to Stanford University economist Nicholas Bloom, since March, almost twice as many \u003ca href=\"https://news.stanford.edu/2020/06/29/snapshot-new-working-home-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">employees are working from home\u003c/a> than those at workplaces. The non-commuters are now 42% of America’s labor force. Without mundane journeys to fill with distractions, workers are less in need of frivolous celebrity tidbits. [aside postid='arts_13879872']\u003c/p>\n\u003cp>The erasure of all those commutes and early morning Starbucks lines undoubtedly contributed to the death of short-form streaming channel \u003ca href=\"https://www.usatoday.com/story/entertainment/tv/2020/10/22/quibi-shuts-down-after-six-months-heres-why/3725358001/\" target=\"_blank\" rel=\"noopener noreferrer\">Quibi\u003c/a>, just six months after it launched. And not even the biggest names on its roster—the likes of Jennifer Lopez, Liam Hemsworth, Queen Latifah, Kevin Hart and Chrissy Teigen—provided enough of a lure to get people to tune in.\u003c/p>\n\u003cp>While Gen Z’s desire for short-form entertainment remained intact, they really only wanted it from TikTok. This was thanks in part to a format that allowed for a sense of community and connection while sheltering in place. On TikTok, the stars weren’t celebrities in the traditional sense either. They were \u003ca href=\"https://www.tiktok.com/@addisonre\">Addison Rae\u003c/a> and \u003ca href=\"https://www.tiktok.com/@bellapoarch\" target=\"_blank\" rel=\"noopener noreferrer\">Bella Poarch\u003c/a>, who currently have 71.1 million and 47.6 million followers respectively, simply for miming while cute. The \u003ca href=\"https://www.tiktok.com/@badwiggies\" target=\"_blank\" rel=\"noopener noreferrer\">Bad Wiggies\u003c/a> (3.4 million followers)—an anonymous trio of Miami girls dancing in empty parking lots—inspired dance moves and fashion choices. And \u003ca href=\"https://www.tiktok.com/@iamtabithabrown\" target=\"_blank\" rel=\"noopener noreferrer\">Tabitha Brown\u003c/a> (4.5 million followers)—a.k.a. “the world’s favorite mom”—provided cooking videos that proved to be both entertaining and soothing.\u003c/p>\n\u003cp>Let’s not forget that TikTok was also the platform that gave us Nathan Apodaca, the \u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">skateboarding cranberry juice guy\u003c/a>. Apodaca acted as the ultimate symbol of how regular people stay zen in dire circumstances, and the nation fell in love with him because of it. (Let’s hope the Fleetwood Mac fan can hang onto that spirit as he \u003ca href=\"https://www.billboard.com/articles/columns/pop/9500868/nathan-apodaca-tests-positive-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">battles coronavirus\u003c/a>.)\u003c/p>\n\u003cp>Not even our most famous reality stars could keep up this year. As was evidenced by \u003ca href=\"https://en.wikipedia.org/wiki/KSI_vs._Logan_Paul\" target=\"_blank\" rel=\"noopener noreferrer\">Jake and Logan Paul\u003c/a> moving into amateur boxing, and the \u003ca href=\"https://www.usmagazine.com/entertainment/pictures/kuwtk-ending-everything-the-kardashians-have-said/the-beginning-of-the-end-3/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashians finally calling it quits\u003c/a> on their TV show. (After 14 years and 20 seasons, no less.) In 2020, between Kim casually mentioning \u003ca href=\"https://twitter.com/KimKardashian/status/1277752179877527554\" target=\"_blank\" rel=\"noopener noreferrer\">North West’s $25,000 Freesian horse\u003c/a>, Kanye announcing Kim had become \u003ca href=\"https://twitter.com/kanyewest/status/1277766033844121601\" target=\"_blank\" rel=\"noopener noreferrer\">a billionaire\u003c/a>, and the now-infamous “\u003ca href=\"https://twitter.com/KimKardashian/status/1321151217482014726\" target=\"_blank\" rel=\"noopener noreferrer\">trip to a private island\u003c/a>,” the family never seemed more out of touch. (Which is an impressive feat considering their track record.) [aside postid='arts_13888949']\u003c/p>\n\u003cp>In the future, when we think about what kept us amused in 2020, we won’t remember movies or TV, we’ll remember the puzzles, the potted plants, the baking and the books. And when we look back and recall the biggest stars of the year, most won’t be from stage and screen. They’ll be the \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">healthcare\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13885071/watch-that-time-project-runway-tried-to-redesign-the-usps-uniform\" target=\"_blank\" rel=\"noopener noreferrer\">USPS\u003c/a> workers who worked tirelessly to get us through it. They’ll be the \u003ca href=\"https://www.kqed.org/arts/13885235/hit-hard-by-pandemic-youth-of-color-are-leading-activism-new-poll-finds\" target=\"_blank\" rel=\"noopener noreferrer\">teens who organized\u003c/a> and dominated Black Lives Matter marches. And of course we’ll remember \u003ca href=\"https://www.kqed.org/arts/13888949/the-internet-is-very-worried-about-msnbcs-steve-kornacki\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Kornacki and his khakis\u003c/a>, both of which stayed up for days to provide America with up-to-the-minute results during the weirdest election in living memory.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It won’t stay like this forever, of course. In a few years, once we get to a post-coronavirus world, celebrity culture will return. But for now, let’s appreciate the reset 2020 gave us. For 10 months now, instead of following famous people’s lives in our spare time, we’ve become almost entirely focused on our own, down here with everyone else, enduring what is sure to be one of the most stressful years of our lives. What we’ve learned about ourselves in the process will be of more value for years to come than anything the world of celebrity could have conjured.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re looking for a perfect encapsulation of what happened to celebrity culture in 2020, look no further than this Twitter thread that emerged last week.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Enthusiastic bird watching is nothing new, of course, especially in New York City. But in December 2020, seeing a large group of photographers raving over a bird instead of a celebrity isn’t just less surprising than it would’ve been in January, it’s somehow infinitely more relatable. Because as everyone has struggled to keep their heads above the proverbial flood waters for the last 10 months, these kinds of small pleasures have dominated all of our lives. And they’ve come remarkably close to decimating celebrity culture as a national pastime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There can be no doubt that 2020 has forced us to reevaluate all priorities: our careers, homes, families, relationships—even \u003ca href=\"https://www.kqed.org/arts/13883244/how-sheltering-in-place-is-shifting-womens-beauty-standards\" target=\"_blank\" rel=\"noopener noreferrer\">our appearances\u003c/a>. But caring about celebrities was one of the very first things to go by the wayside when normal life unceremoniously shut down in March.\u003c/p>\n\u003cp>It’s not hard to pinpoint the exact moment when we turned our backs either. It was this:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Gal Gadot et al.’s ill-advised, cringe-worthy, patronizing, self-indulgent response to a global pandemic was a cold bucket of water on the head, at the precise moment we neither wanted nor needed one. But it also woke us up. Overnight, celebrity culture went from providing a casual mental escape to being so far beyond the realms of real—the real stress, real fear, real discomfort we were all feeling—that it became utterly and instantaneously unpalatable. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was exacerbated by celebrities telling us how to handle the pandemic from the comforts of their \u003ca href=\"https://www.instagram.com/tv/B92YsciHcUu/\" target=\"_blank\" rel=\"noopener noreferrer\">mansions\u003c/a>, their \u003ca href=\"https://www.youtube.com/watch?v=4HtpM7XvUnQ\" target=\"_blank\" rel=\"noopener noreferrer\">hot tubs\u003c/a>, their \u003ca href=\"https://www.instagram.com/p/B90q7dpAnHW\" target=\"_blank\" rel=\"noopener noreferrer\">meditation retreats\u003c/a>, and their \u003ca href=\"https://www.instagram.com/p/B9BxGPqFfpw/\" target=\"_blank\" rel=\"noopener noreferrer\">first-class seats\u003c/a> on \u003ca href=\"https://www.instagram.com/p/B9kwcbPnFPo/\" target=\"_blank\" rel=\"noopener noreferrer\">airplanes\u003c/a>. By the time a group of\u003ca href=\"https://www.kqed.org/arts/13881801/anti-racism-celeb-psa-i-take-responsibility-is-the-new-imagine\" target=\"_blank\" rel=\"noopener noreferrer\"> overwrought white actors declared\u003c/a> in June—in the aftermath of the \u003ca href=\"https://www.kqed.org/news/11823403/george-floyd-anti-racism-and-protests-against-police-violence-echo-globally\" target=\"_blank\" rel=\"noopener noreferrer\">killing of George Floyd\u003c/a>—that they were taking responsibility for turning blind eyes to racial injustice, the public greeted it by collectively rolling theirs. Hell, by the end of 2020, even Ellen DeGeneres—previously one of America’s most beloved TV hosts—was \u003cem>persona non grata, \u003c/em>after allegations of her \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">toxic workplace\u003c/a> emerged.\u003c/p>\n\u003cp>In my role as a pop culture journalist this year, the shift has been palpable. By the end of spring, it was abundantly clear that KQED Arts & Culture readers were suddenly more interested in hearing about \u003ca href=\"https://www.kqed.org/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal\" target=\"_blank\" rel=\"noopener noreferrer\">jigsaw puzzles\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13880317/escaped-goats-in-san-jose-live-out-our-shelter-in-place-fantasies\" target=\"_blank\" rel=\"noopener noreferrer\">escaped goats\u003c/a> than about \u003ca href=\"https://www.kqed.org/arts/13878920/meghan-and-harry-take-stonewalling-uk-tabloids-to-a-new-level\" target=\"_blank\" rel=\"noopener noreferrer\">Harry and Meghan\u003c/a>. (I knew I was really in trouble after a \u003ca href=\"https://www.kqed.org/arts/13877883/dolly-parton-wants-to-read-us-bedtime-stories-so-everything-is-fine-now\" target=\"_blank\" rel=\"noopener noreferrer\">story about Dolly Parton\u003c/a> flopped.) My job, almost overnight, became about self-care and self-contained pastimes that were firmly outside of the realms of the rich and the famous. The upper crust, it seemed, had been rendered largely irrelevant, almost overnight.\u003c/p>\n\u003cp>The public’s relationship with celebrities was further disconnected after the entertainment industry all but ground to a halt. \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">Concert tours were delayed\u003c/a> indefinitely, a shocking number of \u003ca href=\"https://editorial.rottentomatoes.com/article/breakdown-of-2020-movie-delays-and-when-they-will-hit-theaters/\" target=\"_blank\" rel=\"noopener noreferrer\">movie releases were postponed\u003c/a> until 2021, and TV shows either stopped dead in their tracks, or were forced to come up with complicated production solutions. (Oddly, this actually worked to benefit viewers in some cases. \u003cem>The Great British Baking Show\u003c/em>’s quarantined contestants were closer than ever, for one. And in lieu of making Season 2, HBO’s \u003cem>Euphoria\u003c/em> aired a two-person, one-hour\u003ca href=\"https://www.youtube.com/watch?v=uY0_7wPGJlk\" target=\"_blank\" rel=\"noopener noreferrer\"> special\u003c/a> in December that should be remembered as one of the most thought-provoking hours of television … well, \u003cem>ever\u003c/em>.)\u003c/p>\n\u003cp>Another factor influencing our level of interest in famous people was a sudden drop in commuting time across the nation. According to Stanford University economist Nicholas Bloom, since March, almost twice as many \u003ca href=\"https://news.stanford.edu/2020/06/29/snapshot-new-working-home-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">employees are working from home\u003c/a> than those at workplaces. The non-commuters are now 42% of America’s labor force. Without mundane journeys to fill with distractions, workers are less in need of frivolous celebrity tidbits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The erasure of all those commutes and early morning Starbucks lines undoubtedly contributed to the death of short-form streaming channel \u003ca href=\"https://www.usatoday.com/story/entertainment/tv/2020/10/22/quibi-shuts-down-after-six-months-heres-why/3725358001/\" target=\"_blank\" rel=\"noopener noreferrer\">Quibi\u003c/a>, just six months after it launched. And not even the biggest names on its roster—the likes of Jennifer Lopez, Liam Hemsworth, Queen Latifah, Kevin Hart and Chrissy Teigen—provided enough of a lure to get people to tune in.\u003c/p>\n\u003cp>While Gen Z’s desire for short-form entertainment remained intact, they really only wanted it from TikTok. This was thanks in part to a format that allowed for a sense of community and connection while sheltering in place. On TikTok, the stars weren’t celebrities in the traditional sense either. They were \u003ca href=\"https://www.tiktok.com/@addisonre\">Addison Rae\u003c/a> and \u003ca href=\"https://www.tiktok.com/@bellapoarch\" target=\"_blank\" rel=\"noopener noreferrer\">Bella Poarch\u003c/a>, who currently have 71.1 million and 47.6 million followers respectively, simply for miming while cute. The \u003ca href=\"https://www.tiktok.com/@badwiggies\" target=\"_blank\" rel=\"noopener noreferrer\">Bad Wiggies\u003c/a> (3.4 million followers)—an anonymous trio of Miami girls dancing in empty parking lots—inspired dance moves and fashion choices. And \u003ca href=\"https://www.tiktok.com/@iamtabithabrown\" target=\"_blank\" rel=\"noopener noreferrer\">Tabitha Brown\u003c/a> (4.5 million followers)—a.k.a. “the world’s favorite mom”—provided cooking videos that proved to be both entertaining and soothing.\u003c/p>\n\u003cp>Let’s not forget that TikTok was also the platform that gave us Nathan Apodaca, the \u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">skateboarding cranberry juice guy\u003c/a>. Apodaca acted as the ultimate symbol of how regular people stay zen in dire circumstances, and the nation fell in love with him because of it. (Let’s hope the Fleetwood Mac fan can hang onto that spirit as he \u003ca href=\"https://www.billboard.com/articles/columns/pop/9500868/nathan-apodaca-tests-positive-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">battles coronavirus\u003c/a>.)\u003c/p>\n\u003cp>Not even our most famous reality stars could keep up this year. As was evidenced by \u003ca href=\"https://en.wikipedia.org/wiki/KSI_vs._Logan_Paul\" target=\"_blank\" rel=\"noopener noreferrer\">Jake and Logan Paul\u003c/a> moving into amateur boxing, and the \u003ca href=\"https://www.usmagazine.com/entertainment/pictures/kuwtk-ending-everything-the-kardashians-have-said/the-beginning-of-the-end-3/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashians finally calling it quits\u003c/a> on their TV show. (After 14 years and 20 seasons, no less.) In 2020, between Kim casually mentioning \u003ca href=\"https://twitter.com/KimKardashian/status/1277752179877527554\" target=\"_blank\" rel=\"noopener noreferrer\">North West’s $25,000 Freesian horse\u003c/a>, Kanye announcing Kim had become \u003ca href=\"https://twitter.com/kanyewest/status/1277766033844121601\" target=\"_blank\" rel=\"noopener noreferrer\">a billionaire\u003c/a>, and the now-infamous “\u003ca href=\"https://twitter.com/KimKardashian/status/1321151217482014726\" target=\"_blank\" rel=\"noopener noreferrer\">trip to a private island\u003c/a>,” the family never seemed more out of touch. (Which is an impressive feat considering their track record.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the future, when we think about what kept us amused in 2020, we won’t remember movies or TV, we’ll remember the puzzles, the potted plants, the baking and the books. And when we look back and recall the biggest stars of the year, most won’t be from stage and screen. They’ll be the \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">healthcare\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13885071/watch-that-time-project-runway-tried-to-redesign-the-usps-uniform\" target=\"_blank\" rel=\"noopener noreferrer\">USPS\u003c/a> workers who worked tirelessly to get us through it. They’ll be the \u003ca href=\"https://www.kqed.org/arts/13885235/hit-hard-by-pandemic-youth-of-color-are-leading-activism-new-poll-finds\" target=\"_blank\" rel=\"noopener noreferrer\">teens who organized\u003c/a> and dominated Black Lives Matter marches. And of course we’ll remember \u003ca href=\"https://www.kqed.org/arts/13888949/the-internet-is-very-worried-about-msnbcs-steve-kornacki\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Kornacki and his khakis\u003c/a>, both of which stayed up for days to provide America with up-to-the-minute results during the weirdest election in living memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It won’t stay like this forever, of course. In a few years, once we get to a post-coronavirus world, celebrity culture will return. But for now, let’s appreciate the reset 2020 gave us. For 10 months now, instead of following famous people’s lives in our spare time, we’ve become almost entirely focused on our own, down here with everyone else, enduring what is sure to be one of the most stressful years of our lives. What we’ve learned about ourselves in the process will be of more value for years to come than anything the world of celebrity could have conjured.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&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>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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