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"content": "\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZGcmvrTX9M\u003c/p>\n\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\u003c/p>\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/AZGcmvrTX9M'\n title='//www.youtube.com/embed/AZGcmvrTX9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Billionaires Became Easier to Hate in the Age of Coronavirus",
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"content": "\u003cp>[dropcap]O[/dropcap]n March 25 of this year, just as windows were boarded up and workers headed home for the start of shelter in place, the U.S. Chamber of Commerce published \u003ca href=\"https://www.uschamber.com/co/run/business-financing/coronavirus-crowdfunding-campaigns\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> telling American small businesses how to survive. The advice amounted to this: ask for donations.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“While government stimulus plans are being discussed, many local businesses simply can’t wait,” the webpage advised. “That’s why some have turned to their loyal patrons and wider communities to help them meet their immediate needs in these uncertain times… If your business is considering a crowdfunding campaign to mitigate COVID-related financial losses, here’s what you need to know and a few popular platforms to consider…”\u003c/p>\n\u003cp>Nearly six months later, we’ve all seen our fair share of crowdfunding campaigns. And we’ve also seen how little they, and the federal government’s conservative relief efforts, have done to stem the tide of small business closures.\u003c/p>\n\u003cp>In May, however, a handful of Bay Area restaurants were granted a reprieve, when Mark Zuckerberg stepped in and gave his eight “personal favorite” eateries $100,000 each, to ride out shelter in place securely. While that’s undoubtedly a relief for the chosen few, the truth is that Zuckerberg could have given that much money to 10,000 restaurants and he still would have been left with $95 billion for himself.\u003c/p>\n\u003cp>Meanwhile, since shelter in place began, \u003ca href=\"https://www.businessinsider.com/billionaires-net-worth-increases-coronavirus-pandemic-2020-7\" target=\"_blank\" rel=\"noopener noreferrer\">40 million people\u003c/a> have filed for unemployment, and the \u003ca href=\"https://www.urban.org/research/publication/more-one-six-adults-were-food-insecure-two-months-covid-19-recession\" target=\"_blank\" rel=\"noopener noreferrer\">food insecurity rate for parents\u003c/a> has been hovering between 20 and 25%. To say that COVID-19 has gravely transformed the lives and the priorities of human beings around the globe would be a gross understatement—except, that is, if you apply it to the super-rich.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[dropcap]A[/dropcap]t the start of August, \u003ca href=\"https://www.businessinsider.com/billionaires-net-worth-increases-coronavirus-pandemic-2020-7\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Business Insider\u003c/em>\u003c/a> reported that, during shelter in place, American billionaires have increased their total net worth by at least $637 billion. Figures so far put Elon Musk up by $57 billion (there was an $8 billion bump on Aug. 17 alone); Jeff Bezos by $48 billion (his net worth jumped by $13 billion in a single day); Mark Zuckerberg by \u003ca href=\"https://www.businessinsider.com/mark-zuckerberg-billionaire-third-richest-since-coronavirus-net-worth-2020-5\" target=\"_blank\" rel=\"noopener noreferrer\">$30 billion\u003c/a>; the Walmart founders, the Walton family, by $21 billion; Microsoft CEO Steve Ballmer by $15.7 billion; and casino magnate Sheldon Adelson by $5 billion.\u003c/p>\n\u003cp>[aside postid='arts_13898906']It is true that the men making the most money from our collective crisis aren’t averse to making some donations here and there. At the start of the pandemic, Salesforce founder Marc Benioff committed to donating 5 million masks. Sheldon Adelson’s Las Vegas Sands Corp. pledged to give $250,000 to hunger-relief programs, as well as donating two million masks and 20,000 protective suits. The richest of them all, Jeff Bezos, committed in April to donating \u003ca href=\"https://www.forbes.com/sites/angelauyeung/2020/04/02/jeff-bezos-announces-100-million-gift-to-nonprofit-feeding-america/#12f1aed01818\" target=\"_blank\" rel=\"noopener noreferrer\">$100 million to Feeding America\u003c/a>, $20 million to improving COVID-19 tests, $2 million to emergency COVID-19 funds in Washington, D.C. and Seattle, and $5 million relief for small businesses.\u003c/p>\n\u003cp>While that sounds like a lot of giving, bear in mind that someone like Jeff Bezos is sitting on such enormous reserves of cash, \u003ca href=\"https://www.businessinsider.com/how-rich-is-jeff-bezos-mind-blowing-facts-net-worth-2019-4\" target=\"_blank\" rel=\"noopener noreferrer\">his spending $1.2 million\u003c/a> dollars is the equivalent of the average American spending $1. In fact, these billionaires have the power and wealth to transform millions of lives, but simply choose not to.\u003c/p>\n\u003cp>With that in mind, Elon Musk donating \u003ca href=\"https://fortune.com/2020/03/24/coronavirus-ventilators-elon-musk/\" target=\"_blank\" rel=\"noopener noreferrer\">1,255 ventilators\u003c/a> to hospitals in California—which \u003ca href=\"https://www.businessinsider.com/elon-musk-tesla-ventilator-controversy-explained-2020-4\" target=\"_blank\" rel=\"noopener noreferrer\">may or may not have even arrived\u003c/a>—is a flimsy effort at best. Musk has not helped himself during this period by also referring to shelter in place orders as “\u003ca href=\"https://www.businessinsider.com/elon-musk-rant-coronavirus-shelter-place-orders-fascist-unamerican-imprisoning-2020-4\" target=\"_blank\" rel=\"noopener noreferrer\">fascist\u003c/a>,” declaring that children are “\u003ca href=\"https://www.businessinsider.com/twitter-misinformation-elon-musk-children-coronavirus-2020-3\" target=\"_blank\" rel=\"noopener noreferrer\">essentially immune\u003c/a>” to coronavirus, and recommending \u003ca href=\"https://www.businessinsider.com/elon-musk-malaria-drugs-could-treat-coronavirus-2020-3\" target=\"_blank\" rel=\"noopener noreferrer\">unverified medications\u003c/a> to treat COVID-19.\u003c/p>\n\u003cp>[dropcap]O[/dropcap]ur collective tolerance for over-privileged famous people bottomed out early on in the pandemic. It started as a collective eye roll over \u003cem>that \u003c/em>rendition of “\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">Imagine\u003c/a>.” It has since passed through the kind of irritation caused by Madonna calling coronavirus “\u003ca href=\"https://www.youtube.com/watch?v=5UYU4Slh34I\" target=\"_blank\" rel=\"noopener noreferrer\">the great equalizer\u003c/a>” from her pristine, rose-petal-filled bathtub. And more recently, it’s turned into Twitter doing math on an unprecedented scale.\u003c/p>\n\u003cp>https://twitter.com/allisonmcgr/status/1277868289801236480\u003c/p>\n\u003cp>Americans are now examining the billionaires in our midst more closely than we have done since Occupy Wall Street dominated the news cycle in 2011. And never have they seemed more out of touch, or, frankly, more useless.\u003c/p>\n\u003cp>https://twitter.com/BreeNewsome/status/1291361750160375809\u003c/p>\n\u003cp>https://twitter.com/SandersAK/status/1296107930555580416\u003c/p>\n\u003cp>Since 1980, America’s financial system has weighed heavily in favor of the ultra-wealthy. Taxes on billionaires have decreased by 79% in that time, and Bezos’ Amazon is a shining example of the runaway wealth that can result. In 2019, after two years of paying no taxes whatsoever, Amazon was taxed just 1.2% of its income. Then, in the past quarter, it broke records with profits of $5.2 billion as consumers were forced online by business closures, and pushed to the cheapest possible source by mass unemployment.\u003c/p>\n\u003cp>[aside postid='arts_13880859']These issues are exacerbated by the fact that large corporations are often amoral behemoths, eager to gobble up money wherever they can find it. Even government programs set up to assist smaller businesses have been exploited as a result. Before it stopped accepting applications on Aug. 8, the \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program\" target=\"_blank\" rel=\"noopener noreferrer\">Paycheck Protection Program\u003c/a> —“a loan designed to provide a direct incentive for small businesses to keep their workers on the payroll”—made $349 billion of assistance available. \u003ca href=\"https://www.cnbc.com/2020/04/21/large-public-companies-are-taking-small-businesses-payroll-loans.html\" target=\"_blank\" rel=\"noopener noreferrer\">$243 million\u003c/a> of that ended up in the pockets of multi-million dollar corporations.\u003c/p>\n\u003cp>Even \u003cem>Vanity Fair\u003c/em>, a magazine traditionally prone to revering the privileged classes, reported with some disdain on the “\u003ca href=\"https://www.vanityfair.com/news/2020/08/luxe-quarantine-lives-of-silicon-valley-elite\" target=\"_blank\" rel=\"noopener noreferrer\">luxe quarantine lives of the Silicon Valley elite\u003c/a>” earlier this month. One insider, close to a number of wealthy CEOs and venture capitalists, was quoted as saying: “They just can’t stop themselves from throwing parties and going on their jets and socializing as if everything was normal.”\u003c/p>\n\u003cp>(That was in evidence this week when Hailey and Justin Bieber ignored Los Angeles Mayor Eric Garcetti’s “no party” mandate, and threw a lavish one. Billionaire Kylie Jenner and her sister Kendall were photographed arriving maskless, with the latter throwing a thumbs up to awaiting photographers.)\u003c/p>\n\u003cp>[dropcap]C[/dropcap]apitalism enthusiasts will happily pop up at this juncture and declare that it’s the billionaires’ money and they can do what they want with it. And that’s true. They can. Lord knows, the U.S. government has shown little willingness to tax them appropriately and make this easier on everyone. But it’s also true that social contracts exist. If we want to live in the kind of place where neighbors help neighbors in need, and everyone does their part for the community, that also needs to apply to the people at the top of the money pile—especially if it in no way fundamentally diminishes said pile of money.\u003c/p>\n\u003cp>The ultra-rich making the switch to doing the right thing is not unprecedented. Back in the 1990s, the vitriol and revulsion directed at Bill Gates was similar to what Musk, Bezos and Zuckerberg inspire now. And he put a stop to that by engaging in what the \u003cem>Seattle Times\u003c/em> recently called the “largest act of charity in world history.”\u003c/p>\n\u003cp>[aside postid='arts_13868809']Since 2000, the Gates Foundation has spent billions on getting vaccines and contraception to humans who would not otherwise have access to them. In June alone, it gave $1.6 billion to the Vaccine Alliance. Since February, it has donated \u003ca href=\"https://www.washingtonpost.com/technology/2020/05/02/bill-gates-coronavirus-science/\" target=\"_blank\" rel=\"noopener noreferrer\">$250 million\u003c/a> to expand testing for COVID-19 and find a cure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Warren Buffett, having already donated $34 billion to worthy causes, has pledged to leave a further $37 billion to the Gates Foundation when he dies. Both Gates and Buffett remain billionaires many times over, despite this generosity. But they avoid the kind of ire directed at Bezos, Zuckerberg and Musk because of it. Just imagine the impact that could be made if all American billionaires focused their efforts in a similar manner. At the very least, we would surely hate them less.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n March 25 of this year, just as windows were boarded up and workers headed home for the start of shelter in place, the U.S. Chamber of Commerce published \u003ca href=\"https://www.uschamber.com/co/run/business-financing/coronavirus-crowdfunding-campaigns\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> telling American small businesses how to survive. The advice amounted to this: ask for donations.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“While government stimulus plans are being discussed, many local businesses simply can’t wait,” the webpage advised. “That’s why some have turned to their loyal patrons and wider communities to help them meet their immediate needs in these uncertain times… If your business is considering a crowdfunding campaign to mitigate COVID-related financial losses, here’s what you need to know and a few popular platforms to consider…”\u003c/p>\n\u003cp>Nearly six months later, we’ve all seen our fair share of crowdfunding campaigns. And we’ve also seen how little they, and the federal government’s conservative relief efforts, have done to stem the tide of small business closures.\u003c/p>\n\u003cp>In May, however, a handful of Bay Area restaurants were granted a reprieve, when Mark Zuckerberg stepped in and gave his eight “personal favorite” eateries $100,000 each, to ride out shelter in place securely. While that’s undoubtedly a relief for the chosen few, the truth is that Zuckerberg could have given that much money to 10,000 restaurants and he still would have been left with $95 billion for himself.\u003c/p>\n\u003cp>Meanwhile, since shelter in place began, \u003ca href=\"https://www.businessinsider.com/billionaires-net-worth-increases-coronavirus-pandemic-2020-7\" target=\"_blank\" rel=\"noopener noreferrer\">40 million people\u003c/a> have filed for unemployment, and the \u003ca href=\"https://www.urban.org/research/publication/more-one-six-adults-were-food-insecure-two-months-covid-19-recession\" target=\"_blank\" rel=\"noopener noreferrer\">food insecurity rate for parents\u003c/a> has been hovering between 20 and 25%. To say that COVID-19 has gravely transformed the lives and the priorities of human beings around the globe would be a gross understatement—except, that is, if you apply it to the super-rich.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>t the start of August, \u003ca href=\"https://www.businessinsider.com/billionaires-net-worth-increases-coronavirus-pandemic-2020-7\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Business Insider\u003c/em>\u003c/a> reported that, during shelter in place, American billionaires have increased their total net worth by at least $637 billion. Figures so far put Elon Musk up by $57 billion (there was an $8 billion bump on Aug. 17 alone); Jeff Bezos by $48 billion (his net worth jumped by $13 billion in a single day); Mark Zuckerberg by \u003ca href=\"https://www.businessinsider.com/mark-zuckerberg-billionaire-third-richest-since-coronavirus-net-worth-2020-5\" target=\"_blank\" rel=\"noopener noreferrer\">$30 billion\u003c/a>; the Walmart founders, the Walton family, by $21 billion; Microsoft CEO Steve Ballmer by $15.7 billion; and casino magnate Sheldon Adelson by $5 billion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is true that the men making the most money from our collective crisis aren’t averse to making some donations here and there. At the start of the pandemic, Salesforce founder Marc Benioff committed to donating 5 million masks. Sheldon Adelson’s Las Vegas Sands Corp. pledged to give $250,000 to hunger-relief programs, as well as donating two million masks and 20,000 protective suits. The richest of them all, Jeff Bezos, committed in April to donating \u003ca href=\"https://www.forbes.com/sites/angelauyeung/2020/04/02/jeff-bezos-announces-100-million-gift-to-nonprofit-feeding-america/#12f1aed01818\" target=\"_blank\" rel=\"noopener noreferrer\">$100 million to Feeding America\u003c/a>, $20 million to improving COVID-19 tests, $2 million to emergency COVID-19 funds in Washington, D.C. and Seattle, and $5 million relief for small businesses.\u003c/p>\n\u003cp>While that sounds like a lot of giving, bear in mind that someone like Jeff Bezos is sitting on such enormous reserves of cash, \u003ca href=\"https://www.businessinsider.com/how-rich-is-jeff-bezos-mind-blowing-facts-net-worth-2019-4\" target=\"_blank\" rel=\"noopener noreferrer\">his spending $1.2 million\u003c/a> dollars is the equivalent of the average American spending $1. In fact, these billionaires have the power and wealth to transform millions of lives, but simply choose not to.\u003c/p>\n\u003cp>With that in mind, Elon Musk donating \u003ca href=\"https://fortune.com/2020/03/24/coronavirus-ventilators-elon-musk/\" target=\"_blank\" rel=\"noopener noreferrer\">1,255 ventilators\u003c/a> to hospitals in California—which \u003ca href=\"https://www.businessinsider.com/elon-musk-tesla-ventilator-controversy-explained-2020-4\" target=\"_blank\" rel=\"noopener noreferrer\">may or may not have even arrived\u003c/a>—is a flimsy effort at best. Musk has not helped himself during this period by also referring to shelter in place orders as “\u003ca href=\"https://www.businessinsider.com/elon-musk-rant-coronavirus-shelter-place-orders-fascist-unamerican-imprisoning-2020-4\" target=\"_blank\" rel=\"noopener noreferrer\">fascist\u003c/a>,” declaring that children are “\u003ca href=\"https://www.businessinsider.com/twitter-misinformation-elon-musk-children-coronavirus-2020-3\" target=\"_blank\" rel=\"noopener noreferrer\">essentially immune\u003c/a>” to coronavirus, and recommending \u003ca href=\"https://www.businessinsider.com/elon-musk-malaria-drugs-could-treat-coronavirus-2020-3\" target=\"_blank\" rel=\"noopener noreferrer\">unverified medications\u003c/a> to treat COVID-19.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ur collective tolerance for over-privileged famous people bottomed out early on in the pandemic. It started as a collective eye roll over \u003cem>that \u003c/em>rendition of “\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">Imagine\u003c/a>.” It has since passed through the kind of irritation caused by Madonna calling coronavirus “\u003ca href=\"https://www.youtube.com/watch?v=5UYU4Slh34I\" target=\"_blank\" rel=\"noopener noreferrer\">the great equalizer\u003c/a>” from her pristine, rose-petal-filled bathtub. And more recently, it’s turned into Twitter doing math on an unprecedented scale.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Americans are now examining the billionaires in our midst more closely than we have done since Occupy Wall Street dominated the news cycle in 2011. And never have they seemed more out of touch, or, frankly, more useless.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Since 1980, America’s financial system has weighed heavily in favor of the ultra-wealthy. Taxes on billionaires have decreased by 79% in that time, and Bezos’ Amazon is a shining example of the runaway wealth that can result. In 2019, after two years of paying no taxes whatsoever, Amazon was taxed just 1.2% of its income. Then, in the past quarter, it broke records with profits of $5.2 billion as consumers were forced online by business closures, and pushed to the cheapest possible source by mass unemployment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These issues are exacerbated by the fact that large corporations are often amoral behemoths, eager to gobble up money wherever they can find it. Even government programs set up to assist smaller businesses have been exploited as a result. Before it stopped accepting applications on Aug. 8, the \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program\" target=\"_blank\" rel=\"noopener noreferrer\">Paycheck Protection Program\u003c/a> —“a loan designed to provide a direct incentive for small businesses to keep their workers on the payroll”—made $349 billion of assistance available. \u003ca href=\"https://www.cnbc.com/2020/04/21/large-public-companies-are-taking-small-businesses-payroll-loans.html\" target=\"_blank\" rel=\"noopener noreferrer\">$243 million\u003c/a> of that ended up in the pockets of multi-million dollar corporations.\u003c/p>\n\u003cp>Even \u003cem>Vanity Fair\u003c/em>, a magazine traditionally prone to revering the privileged classes, reported with some disdain on the “\u003ca href=\"https://www.vanityfair.com/news/2020/08/luxe-quarantine-lives-of-silicon-valley-elite\" target=\"_blank\" rel=\"noopener noreferrer\">luxe quarantine lives of the Silicon Valley elite\u003c/a>” earlier this month. One insider, close to a number of wealthy CEOs and venture capitalists, was quoted as saying: “They just can’t stop themselves from throwing parties and going on their jets and socializing as if everything was normal.”\u003c/p>\n\u003cp>(That was in evidence this week when Hailey and Justin Bieber ignored Los Angeles Mayor Eric Garcetti’s “no party” mandate, and threw a lavish one. Billionaire Kylie Jenner and her sister Kendall were photographed arriving maskless, with the latter throwing a thumbs up to awaiting photographers.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">C\u003c/span>\u003c/p>\u003cp>apitalism enthusiasts will happily pop up at this juncture and declare that it’s the billionaires’ money and they can do what they want with it. And that’s true. They can. Lord knows, the U.S. government has shown little willingness to tax them appropriately and make this easier on everyone. But it’s also true that social contracts exist. If we want to live in the kind of place where neighbors help neighbors in need, and everyone does their part for the community, that also needs to apply to the people at the top of the money pile—especially if it in no way fundamentally diminishes said pile of money.\u003c/p>\n\u003cp>The ultra-rich making the switch to doing the right thing is not unprecedented. Back in the 1990s, the vitriol and revulsion directed at Bill Gates was similar to what Musk, Bezos and Zuckerberg inspire now. And he put a stop to that by engaging in what the \u003cem>Seattle Times\u003c/em> recently called the “largest act of charity in world history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2000, the Gates Foundation has spent billions on getting vaccines and contraception to humans who would not otherwise have access to them. In June alone, it gave $1.6 billion to the Vaccine Alliance. Since February, it has donated \u003ca href=\"https://www.washingtonpost.com/technology/2020/05/02/bill-gates-coronavirus-science/\" target=\"_blank\" rel=\"noopener noreferrer\">$250 million\u003c/a> to expand testing for COVID-19 and find a cure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Warren Buffett, having already donated $34 billion to worthy causes, has pledged to leave a further $37 billion to the Gates Foundation when he dies. Both Gates and Buffett remain billionaires many times over, despite this generosity. But they avoid the kind of ire directed at Bezos, Zuckerberg and Musk because of it. Just imagine the impact that could be made if all American billionaires focused their efforts in a similar manner. At the very least, we would surely hate them less.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There have been many bizarre sights on \u003cem>Project Runway\u003c/em> over the years. Like that time Blayne Walsh made \u003ca href=\"https://www.ranker.com/list/worst-project-runway-looks-ever/brigittenajarian\" target=\"_blank\" rel=\"noopener noreferrer\">an outfit\u003c/a> out of beige granny panties, loose-fitting bondage straps and rainbow tulle in inopportune places. Or the Season 8 finale when fan favorite Mondo Guerra was beaten out by Gretchen Jones and her brown basics. Later still, there were the omnipotent eyebrows of both \u003ca href=\"https://tenor.com/view/project-runway-gif-5191702\" target=\"_blank\" rel=\"noopener noreferrer\">Josh McKinley\u003c/a> and \u003ca href=\"https://www.reddit.com/r/awfuleyebrows/comments/464mfl/im_really_surprised_no_ones_called_out_alexander/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Pope\u003c/a>, which demand to be seen and studied if you haven’t already. [aside postid='pop_112385']\u003c/p>\n\u003cp>What is less frequently recalled, however, is that time in Season 1 when the final five contestants were tasked with redesigning the uniform of the United States Postal Service. To be clear, Kara, Jay, Robert, Wendy and Austin were not using the USPS uniform as mere inspiration for more fashionable designs—as would become standard in later seasons. They were literally supposed to design new, usable uniforms, after spending a day working as mail carriers.\u003c/p>\n\u003cp>As the 2004 episode still demonstrates, nothing inspires young designers like having to get up at 5:30am to deal with the stresses, strains and general rigmarole of getting people’s mail to them correctly. All while wearing “uncomfortable” polyester pants. (“They don’t breathe!” Kara exclaims.)\u003c/p>\n\u003cp>In an on-screen interview conducted after his USPS outing, an exasperated Jay declares of the delivery process: “There’s, like, keys and bags and doors and dogs. And reading is involved. And there’s mathematics. It’s more than you think it is.” (Earlier that day, on their mail run, Jay told Kara, “I know what I’m going to design—robots.”)\u003c/p>\n\u003cp>Aside from their brief foray into USPS work, the designers are guided by mail carrier Becky Negich from “\u003ca href=\"https://www.hobokenmuseum.org/29-frank-sinatra-post-office/\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Sinatra’s post office\u003c/a>” in Hoboken, New Jersey. “What we emphasize, or are looking for,” Becky tells them, “is comfort and something easy to move around in. We are representing the Postal Service, so we do want to look nice, but definitely have great comfort.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the episode goes on to prove, “great comfort” can mean a great many things to a great many designers. For Wendy—already under fire for producing “matronly” designs—it means black orthopedic orderly shoes that send normally mild-mannered Tim Gunn into a near-meltdown. “It was being presented with this inconceivable shoe that was bringing it down to the most dowdy place it could possibly be,” Gunn despairs. “Please don’t defend the shoe to me!”\u003c/p>\n\u003cp>It’s all to little avail. The look Wendy ultimately sends down the runway is later described by Michael Kors—rather accurately, one must admit—as “farty.”\u003c/p>\n\u003cp>At the opposite end of the scale is Austin and his adorable 1950s ensemble consisting of fitted knee-length shorts, a cute sleeveless shirt and a powder blue rain cape and matching hat. “It’s kind of like Doris Day playing a postal worker,” Kors declares disdainfully at the runway. “It’s very costumey to me …” (It’s a side note, but there’s a high probability that if this were any other season, Austin’s look would have won.)\u003c/p>\n\u003cp>Then comes Robert who—having unironically declared of his design day, “I would say the intensity is in the red zone”—emerges with an outfit best described as 1998 Raver Gets The Mail. With a flimsy collared T-shirt that looks thrifted, and wide pants that zip off at the knee, Robert’s take on modern mail carrier draws expressions of thinly veiled horror from all of the judges, including Hoboken Becky. “I think you didn’t put enough effort into it,” Nina Garcia deadpans. [aside postid='pop_18832']\u003c/p>\n\u003cp>At the top of the unfortunate uniform pile are Jay and Kara’s designs, both of which utilize multiple layers, turtlenecks, sleeveless vests and fetching hats. Jay gets points for his “metalicized” slacks and knee-high boots, but Kara wins with her drawstring pants, tool belt and ushanka hat, that the judges find “functional but very sexy.”\u003c/p>\n\u003cp>Looking back now at this, the eighth ever episode of \u003cem>Project Runway\u003c/em>, is both a joy (FARTY!) and a weird time capsule. (At one point, Kors says, “Every woman I know, when you put pockets in their pants, they cut them out because they feel fat.” Could that possibly be true?!) But the entire episode was based in a reverence for the USPS that remains heartwarming and—especially given the 2020 hellscape we’re all currently trapped in—absolutely worth revisiting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The USPS episode of \u003c/em>Project Runway\u003cem> is currently streaming in full, over on \u003ca href=\"https://www.dailymotion.com/video/x60mrp3\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Motion\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been many bizarre sights on \u003cem>Project Runway\u003c/em> over the years. Like that time Blayne Walsh made \u003ca href=\"https://www.ranker.com/list/worst-project-runway-looks-ever/brigittenajarian\" target=\"_blank\" rel=\"noopener noreferrer\">an outfit\u003c/a> out of beige granny panties, loose-fitting bondage straps and rainbow tulle in inopportune places. Or the Season 8 finale when fan favorite Mondo Guerra was beaten out by Gretchen Jones and her brown basics. Later still, there were the omnipotent eyebrows of both \u003ca href=\"https://tenor.com/view/project-runway-gif-5191702\" target=\"_blank\" rel=\"noopener noreferrer\">Josh McKinley\u003c/a> and \u003ca href=\"https://www.reddit.com/r/awfuleyebrows/comments/464mfl/im_really_surprised_no_ones_called_out_alexander/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexander Pope\u003c/a>, which demand to be seen and studied if you haven’t already. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What is less frequently recalled, however, is that time in Season 1 when the final five contestants were tasked with redesigning the uniform of the United States Postal Service. To be clear, Kara, Jay, Robert, Wendy and Austin were not using the USPS uniform as mere inspiration for more fashionable designs—as would become standard in later seasons. They were literally supposed to design new, usable uniforms, after spending a day working as mail carriers.\u003c/p>\n\u003cp>As the 2004 episode still demonstrates, nothing inspires young designers like having to get up at 5:30am to deal with the stresses, strains and general rigmarole of getting people’s mail to them correctly. All while wearing “uncomfortable” polyester pants. (“They don’t breathe!” Kara exclaims.)\u003c/p>\n\u003cp>In an on-screen interview conducted after his USPS outing, an exasperated Jay declares of the delivery process: “There’s, like, keys and bags and doors and dogs. And reading is involved. And there’s mathematics. It’s more than you think it is.” (Earlier that day, on their mail run, Jay told Kara, “I know what I’m going to design—robots.”)\u003c/p>\n\u003cp>Aside from their brief foray into USPS work, the designers are guided by mail carrier Becky Negich from “\u003ca href=\"https://www.hobokenmuseum.org/29-frank-sinatra-post-office/\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Sinatra’s post office\u003c/a>” in Hoboken, New Jersey. “What we emphasize, or are looking for,” Becky tells them, “is comfort and something easy to move around in. We are representing the Postal Service, so we do want to look nice, but definitely have great comfort.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the episode goes on to prove, “great comfort” can mean a great many things to a great many designers. For Wendy—already under fire for producing “matronly” designs—it means black orthopedic orderly shoes that send normally mild-mannered Tim Gunn into a near-meltdown. “It was being presented with this inconceivable shoe that was bringing it down to the most dowdy place it could possibly be,” Gunn despairs. “Please don’t defend the shoe to me!”\u003c/p>\n\u003cp>It’s all to little avail. The look Wendy ultimately sends down the runway is later described by Michael Kors—rather accurately, one must admit—as “farty.”\u003c/p>\n\u003cp>At the opposite end of the scale is Austin and his adorable 1950s ensemble consisting of fitted knee-length shorts, a cute sleeveless shirt and a powder blue rain cape and matching hat. “It’s kind of like Doris Day playing a postal worker,” Kors declares disdainfully at the runway. “It’s very costumey to me …” (It’s a side note, but there’s a high probability that if this were any other season, Austin’s look would have won.)\u003c/p>\n\u003cp>Then comes Robert who—having unironically declared of his design day, “I would say the intensity is in the red zone”—emerges with an outfit best described as 1998 Raver Gets The Mail. With a flimsy collared T-shirt that looks thrifted, and wide pants that zip off at the knee, Robert’s take on modern mail carrier draws expressions of thinly veiled horror from all of the judges, including Hoboken Becky. “I think you didn’t put enough effort into it,” Nina Garcia deadpans. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the top of the unfortunate uniform pile are Jay and Kara’s designs, both of which utilize multiple layers, turtlenecks, sleeveless vests and fetching hats. Jay gets points for his “metalicized” slacks and knee-high boots, but Kara wins with her drawstring pants, tool belt and ushanka hat, that the judges find “functional but very sexy.”\u003c/p>\n\u003cp>Looking back now at this, the eighth ever episode of \u003cem>Project Runway\u003c/em>, is both a joy (FARTY!) and a weird time capsule. (At one point, Kors says, “Every woman I know, when you put pockets in their pants, they cut them out because they feel fat.” Could that possibly be true?!) But the entire episode was based in a reverence for the USPS that remains heartwarming and—especially given the 2020 hellscape we’re all currently trapped in—absolutely worth revisiting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The USPS episode of \u003c/em>Project Runway\u003cem> is currently streaming in full, over on \u003ca href=\"https://www.dailymotion.com/video/x60mrp3\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Motion\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Don’t Sweat(pants) it. The House Dress is Here to Rescue 2020 | KQED",
"content": "\u003cp>For Lynette Gabriel, it started with a dressed-up Zoom brunch with girlfriends. She called in from her home in Oakland, in a leopard-print long-sleeve gown from the back of her closet. Snacking on smoked-salmon potato hash and sipping on a glass of rosé, Gabriel found her new house fashion.\u003c/p>\n\u003cp>“We actually now call ourselves ‘The Real Housewives of Quarantine’ in our house dresses,” Gabriel says and chuckles.\u003c/p>\n\u003cfigure id=\"attachment_13884976\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg\" alt=\"Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram.\" width=\"200\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef-160x244.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram. \u003ccite>(Lynette Gabriel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billowing linen. Cozy cotton. Floating silk. The house dress is having a 2020 renaissance. Flowy tunics, chic kimonos and muumuus, and ankle-length T-shirts are floating into more and more shopping carts—a sartorial coping mechanism for the modern pandemic age.\u003c/p>\n\u003cp>Clothes and mood are intertwined, argues fashion psychologist Dawnn Karen, author of \u003cem>Dress Your Best Life\u003c/em>. And so, the house dress is a perfect fit for this moment: a small expression of control during the uncontrollable, a taste of free-flowing freedom in a time rife with restrictions, a sense of structure and style on the days that feel hazy and dull.\u003c/p>\n\u003cp>“I’ve actually gotten rid of some fancier dresses to make room for more house dresses because … I would say I’m wearing a house dress at least three times a week,” says Preeti Chaulk, a data manager from Cincinnati. House dresses followed her around Instagram—worn by influencers, advertised by brands—soon leaving a trail of striking floral designs \u003ca href=\"https://www.instagram.com/preetichaulk/\" target=\"_blank\" rel=\"noopener noreferrer\">on her own feed\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For decades, the house dress got a bad rep—a throwback to the times when women’s sway was confined to housework. Its origin is said to trace to a Victorian gown that freed women of corsets but clad them instead in a baggy matronly smock named after “Mother Hubbard” from old nursery rhymes.\u003c/p>\n\u003cp>Even as the house dress got more shapely and stylish, its focus was chicness during chores—some in the 1940s and ’50s even came with matching oven mitts. Then, the house dress loosened up, made most famous by the \u003ca href=\"https://www.pinterest.com/pin/113715959318469855/\" target=\"_blank\" rel=\"noopener noreferrer\">flamboyant caftans of Helen Roper\u003c/a> on the ’70s sitcom \u003cem>Three’s Company.\u003c/em> Still, a stigma trailed the garment: an artifact that’s dowdy, dated and perhaps involves “laying on your couch eating bonbons,” Chaulk jokes.\u003c/p>\n\u003cp>“We’re all busy women, we’re doing things [in house dresses],” she exclaims. And OK, that might still involve some errands or a nap on the couch. Is it so wrong to crave an occasional bonbon? The 2020 house dress is not here to judge or cast expectations.\u003c/p>\n\u003cfigure id=\"attachment_13884975\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg\" alt=\"Preeti Chaulk has worked from home for many years but says she's never owned more house dresses than now. "I kind of always wanted to have that approach of like, I'm not wearing pajamas, but I'm still very comfortable—enter the house dress," she says.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Preeti Chaulk has worked from home for many years but says she’s never owned more house dresses than now. “I kind of always wanted to have that approach of like, I’m not wearing pajamas, but I’m still very comfortable—enter the house dress,” she says. \u003ccite>(Preeti Chaulk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have to say—linen, comfortable clothes—it’s actually very contagious. … It’s addictive,” says Malgosia Archer, a Polish and British designer who sells lounge dresses through her \u003ca href=\"https://www.etsy.com/shop/GoshYaga\">Etsy shop, GoshYaga\u003c/a>.\u003c/p>\n\u003cp>“Ghost” is how her teenage daughters have dubbed her most popular item: a billowing cloud of white linen, with pockets. Back before the pandemic, Archer had worried her airy fabrics wouldn’t be in demand until the summer. Now, even her daughters are lounging in versions of the “ghost” dress.\u003c/p>\n\u003cp>Across the world in Arizona, Jade Banner can relate. Her online store \u003ca href=\"https://dwellandslumber.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dwell & Slumber\u003c/a>—known especially for its caftans—is having difficulty keeping up with demand. Most notably, Banner’s designs have finally won over her most elusive customer: her mother.\u003c/p>\n\u003cp>“She would not wear my dresses,” Banner says. “She likes clothes to be more fitted, more tailored. She just didn’t get it.”\u003c/p>\n\u003cp>But on Banner’s recent visits to her parents, there was her mother, lounging in a spacious Dwell & Slumber special—converted into a house-dress believer during the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13884977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg\" alt='\"I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,\" says Lauren Niimi from Chicago.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,” says Lauren Niimi from Chicago. \u003ccite>(Lauren Niimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad says, ‘She won’t wear anything else—what have you done?’ ” Banner says with a laugh. “I do finally feel victorious.”\u003c/p>\n\u003cp>Fashion psychologist Karen says an outfit can serve a higher purpose if it helps you express your mood, lift your spirits or save you the need for extra decisions. In the hamster wheel of housebound life—with all the mask-wearing and hand sanitizing and social distancing—maybe the house dress is a triple promise:\u003c/p>\n\u003cp>It might comfort you if you’re down, hold you up if you’re content and ease choice with a single look that can take you from a nap to a business call, to the backyard, to a nice dinner.\u003c/p>\n\u003cp>“I put it on and … had some work to do, and I sat outside on a screened-in porch and just felt like finally some peace had rolled over me after many months of not being at peace,” says \u003ca href=\"https://www.instagram.com/lmkdelights/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Niimi\u003c/a>, a school administrator, baker, artist and mom to three boys from Chicago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’d bought her embroidered house dress on a whim, pining for a missed summer trip to wine country, looking at outfits she might have worn there: easy, effortless, relaxed. Thirty dollars, she says, was a small price to pay for a little bit of happiness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Sweat%28pants%29+It.+The+House+Dress+Is+Here+To+Rescue+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Lynette Gabriel, it started with a dressed-up Zoom brunch with girlfriends. She called in from her home in Oakland, in a leopard-print long-sleeve gown from the back of her closet. Snacking on smoked-salmon potato hash and sipping on a glass of rosé, Gabriel found her new house fashion.\u003c/p>\n\u003cp>“We actually now call ourselves ‘The Real Housewives of Quarantine’ in our house dresses,” Gabriel says and chuckles.\u003c/p>\n\u003cfigure id=\"attachment_13884976\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg\" alt=\"Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram.\" width=\"200\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef-160x244.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram. \u003ccite>(Lynette Gabriel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billowing linen. Cozy cotton. Floating silk. The house dress is having a 2020 renaissance. Flowy tunics, chic kimonos and muumuus, and ankle-length T-shirts are floating into more and more shopping carts—a sartorial coping mechanism for the modern pandemic age.\u003c/p>\n\u003cp>Clothes and mood are intertwined, argues fashion psychologist Dawnn Karen, author of \u003cem>Dress Your Best Life\u003c/em>. And so, the house dress is a perfect fit for this moment: a small expression of control during the uncontrollable, a taste of free-flowing freedom in a time rife with restrictions, a sense of structure and style on the days that feel hazy and dull.\u003c/p>\n\u003cp>“I’ve actually gotten rid of some fancier dresses to make room for more house dresses because … I would say I’m wearing a house dress at least three times a week,” says Preeti Chaulk, a data manager from Cincinnati. House dresses followed her around Instagram—worn by influencers, advertised by brands—soon leaving a trail of striking floral designs \u003ca href=\"https://www.instagram.com/preetichaulk/\" target=\"_blank\" rel=\"noopener noreferrer\">on her own feed\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, the house dress got a bad rep—a throwback to the times when women’s sway was confined to housework. Its origin is said to trace to a Victorian gown that freed women of corsets but clad them instead in a baggy matronly smock named after “Mother Hubbard” from old nursery rhymes.\u003c/p>\n\u003cp>Even as the house dress got more shapely and stylish, its focus was chicness during chores—some in the 1940s and ’50s even came with matching oven mitts. Then, the house dress loosened up, made most famous by the \u003ca href=\"https://www.pinterest.com/pin/113715959318469855/\" target=\"_blank\" rel=\"noopener noreferrer\">flamboyant caftans of Helen Roper\u003c/a> on the ’70s sitcom \u003cem>Three’s Company.\u003c/em> Still, a stigma trailed the garment: an artifact that’s dowdy, dated and perhaps involves “laying on your couch eating bonbons,” Chaulk jokes.\u003c/p>\n\u003cp>“We’re all busy women, we’re doing things [in house dresses],” she exclaims. And OK, that might still involve some errands or a nap on the couch. Is it so wrong to crave an occasional bonbon? The 2020 house dress is not here to judge or cast expectations.\u003c/p>\n\u003cfigure id=\"attachment_13884975\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg\" alt=\"Preeti Chaulk has worked from home for many years but says she's never owned more house dresses than now. "I kind of always wanted to have that approach of like, I'm not wearing pajamas, but I'm still very comfortable—enter the house dress," she says.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Preeti Chaulk has worked from home for many years but says she’s never owned more house dresses than now. “I kind of always wanted to have that approach of like, I’m not wearing pajamas, but I’m still very comfortable—enter the house dress,” she says. \u003ccite>(Preeti Chaulk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have to say—linen, comfortable clothes—it’s actually very contagious. … It’s addictive,” says Malgosia Archer, a Polish and British designer who sells lounge dresses through her \u003ca href=\"https://www.etsy.com/shop/GoshYaga\">Etsy shop, GoshYaga\u003c/a>.\u003c/p>\n\u003cp>“Ghost” is how her teenage daughters have dubbed her most popular item: a billowing cloud of white linen, with pockets. Back before the pandemic, Archer had worried her airy fabrics wouldn’t be in demand until the summer. Now, even her daughters are lounging in versions of the “ghost” dress.\u003c/p>\n\u003cp>Across the world in Arizona, Jade Banner can relate. Her online store \u003ca href=\"https://dwellandslumber.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dwell & Slumber\u003c/a>—known especially for its caftans—is having difficulty keeping up with demand. Most notably, Banner’s designs have finally won over her most elusive customer: her mother.\u003c/p>\n\u003cp>“She would not wear my dresses,” Banner says. “She likes clothes to be more fitted, more tailored. She just didn’t get it.”\u003c/p>\n\u003cp>But on Banner’s recent visits to her parents, there was her mother, lounging in a spacious Dwell & Slumber special—converted into a house-dress believer during the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13884977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg\" alt='\"I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,\" says Lauren Niimi from Chicago.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,” says Lauren Niimi from Chicago. \u003ccite>(Lauren Niimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad says, ‘She won’t wear anything else—what have you done?’ ” Banner says with a laugh. “I do finally feel victorious.”\u003c/p>\n\u003cp>Fashion psychologist Karen says an outfit can serve a higher purpose if it helps you express your mood, lift your spirits or save you the need for extra decisions. In the hamster wheel of housebound life—with all the mask-wearing and hand sanitizing and social distancing—maybe the house dress is a triple promise:\u003c/p>\n\u003cp>It might comfort you if you’re down, hold you up if you’re content and ease choice with a single look that can take you from a nap to a business call, to the backyard, to a nice dinner.\u003c/p>\n\u003cp>“I put it on and … had some work to do, and I sat outside on a screened-in porch and just felt like finally some peace had rolled over me after many months of not being at peace,” says \u003ca href=\"https://www.instagram.com/lmkdelights/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Niimi\u003c/a>, a school administrator, baker, artist and mom to three boys from Chicago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’d bought her embroidered house dress on a whim, pining for a missed summer trip to wine country, looking at outfits she might have worn there: easy, effortless, relaxed. Thirty dollars, she says, was a small price to pay for a little bit of happiness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Sweat%28pants%29+It.+The+House+Dress+Is+Here+To+Rescue+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "I Thought a Zoo: Simulated Games For Isolated Times",
"headTitle": "I Thought a Zoo: Simulated Games For Isolated Times | KQED",
"content": "\u003cp>I’m overwhelmed by so many things right now, not the least of which is that I keep having to build wind turbines.\u003c/p>\n\u003cp>Not in my yard, you understand: in my imaginary city. The city I created playing the game \u003cem>Cities: Skylines\u003c/em>. I play it on my Nintendo Switch, but you can play it on your Xbox, or your PlayStation, or your computer. It’s very much like the game \u003cem>Sim City \u003c/em>that I played years ago, and it proceeds in much the same way: You have some land. You build some roads, you create zoning (and really, who \u003cem>doesn’t \u003c/em>get into gaming in order to explore land-use planning?), you supply these areas with water and power, and then people begin to move in.\u003c/p>\n\u003cp>Maybe it’s not a surprise that I, as someone who lives alone and finds myself with time to kill in these Pandemic Days, have made a lot more use of my Switch in the last few months than in the last couple of years. Yes, I played \u003cem>Animal Crossing: New Horizons\u003c/em> when it first came out—in fact, I bought a copy for a stranger on Twitter, because she was in a pinch and it had been such a balm to me.\u003c/p>\n\u003cp>But I also play \u003cem>RBI Baseball 20 \u003c/em>(the official MLB-sanctioned baseball game) and \u003cem>Super Mega Baseball 3 \u003c/em>(the funnier, more whimsical baseball game), and I play \u003cem>Paper Mario: The Origami King \u003c/em>(the fact that you throw confetti like Rip Taylor in that game is just the best). I loved \u003cem>Kentucky Route Zero\u003c/em>, which is a moody, melancholy point-and-click storytelling game with musical interludes and all kinds of cool stuff. I’m okay at \u003cem>Breakfast Bar Tycoon\u003c/em>, which requires you to learn how to assemble breakfast sandwiches and serve grumpy customers (though anything where you’re eventually rushing stresses me out), and I’m not even going to list the games I’ve tried at which I’m completely hopeless. (One of my dear friends is a devotee of NBA2K, a game I find as stressful as an ancient version of myself might have found a tiger attack.)\u003c/p>\n\u003cp>But more than anything, I have been playing simulation games. Almost anything can be defined as a simulation of sorts, in that there’s always a reality that you’re living in, even if you’re jumping from platform to platform or shooting at bad guys. But here, I’m referring to the more methodical, world-creating, no-obvious-ending simulations like \u003ca href=\"https://www.npr.org/2018/07/18/629760717/put-your-face-in-it-how-gaming-helped-me-understand-my-dog\" target=\"_blank\" rel=\"noopener noreferrer\">the farming game \u003cem>Stardew Valley\u003c/em>\u003c/a>, where you set up your farm and then grow things and sell them and try to make friends. \u003cem>Animal Crossing \u003c/em>is a simulation, too. But it’s unlike most simulations, in that it’s not particularly stressful. Not a lot of really terrible things can happen very easily; it’s more that if you don’t play, you’re not out there earning goodies and catching new bugs. I recently picked it up again after a couple of months off, and my biggest problem was that my animal friends had really missed me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not the case in some of the other games I’ve been playing. Let me take you on a tour of a few of these imaginary worlds I’ve been building and, in some cases, messing up completely, while I hope that my actual world will steady.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cities: Skylines\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe\" alt=\"This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First: back to those wind turbines.\u003c/p>\n\u003cp>When you set up your \u003cem>Cities: Skylines \u003c/em>city, it needs power. Back when I used to play \u003cem>Sim City\u003c/em>, you were boxed into starting with a coal-fired power plant, which you plunked down in some unfortunate part of your city. Coal plants are dirty, but they’ll juice up your town, and they’re what you can afford. In \u003cem>Cities: Skylines\u003c/em>, you can start with coal—or you can put up wind turbines. You have to look at your maps and find a place to put them that’s windy enough, but they come in smaller units, so the initial cost for the power you need to get started is lower.\u003c/p>\n\u003cp>Plus, you’ll start seeing your citizens tweeting—sorry, I meant “chirping,” which is the game’s version of something that looks rather like tweeting—about how much they appreciate your commitment to green energy. (Of course, they also tweet complaints. Every time I see the chirp that gripes that it’s not that hard to create a working power grid, I say out loud something like “It’s harder than you think, jerk, so \u003cem>give \u003c/em>me a \u003cem>minute\u003c/em> if you \u003cem>don’t mind \u003c/em>and I will \u003cem>fix it\u003c/em>.” Then I go build some more power lines.)\u003c/p>\n\u003cp>But then you’ll add clean water, and your city will grow. Little bars at the bottom of the screen tell you how much demand there is for different kinds of zoning, and when you see that orange bar grow, that means your people want some Industrial Zone space. So you lay it out, and businesses move in. And then, before you know it, little lightning bolts start flashing over some of your residential housing. You’re short of power. If you still have money, you maybe build another wind turbine. Or two. Then the industrial buildings start flashing a little symbol that says they don’t have enough workers. So you build more residential areas. The population keeps growing. They begin to want things. They need the garbage collected. They need a medical clinic and a school, they tell you. They need fire trucks, they tell you.\u003c/p>\n\u003cp>They need police.\u003c/p>\n\u003cp>What is true in \u003cem>Cities: Skylines \u003c/em>is, of course, only what the people who developed it decided would be true. (Although on some platforms, you can download mods created by users that tinker with the programming.) And what’s true here is that you add police stations and you add budgets for them, and that prevents crime. Because, as the in-game explanation says, the more stations and money, the more patrol cars. And patrol cars cut crime in the buildings they drive by. (You can eventually watch your police cars drive around.)\u003c/p>\n\u003cp>Police cars aren’t the only thing that reduces crime: education does too. And police cars don’t do any good if they can’t get around because of traffic or other road issues. But in this game, police presence affects the happiness of your citizens in only one way, which is that they feel safer when there are more patrol cars driving around. If you don’t have enough police—what the game defines as “enough police”—your crime rate goes up. What that looks like is that instead of the lightning bolts that flash on a building without power or the hardhat person who flashes on a building without enough workers, a face in a ski mask flashes on a building where the crime rate is too high. “Save us all from guys in ski masks,” your imaginary citizens are allegedly thinking.\u003c/p>\n\u003cp>There is a small-“c” conservative bent to such a game, of course, because how things have worked is how they must always work. In a year in which even more attention than before has gone to calls to reform police, change how they operate, and potentially give them \u003cem>less \u003c/em>money, a strictly linear relationship between the number of police cars and the amount of happiness seems fanciful, like setting up the game so that adding roads increases a city’s population of red pandas.\u003c/p>\n\u003cp>Even these simulated worlds I am trying to build keep bumping into the real one.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Two Point Hospital\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe\" alt=\"In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist's office, and some vending machines, among other things.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist’s office, and some vending machines, among other things. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the list of uncomfortable collisions with reality is \u003cem>Two Point Hospital\u003c/em>, one of my favorites. I realize that just as there were people who wanted to watch \u003cem>Contagion \u003c/em>early in the pandemic but I couldn’t imagine it, there are people who would never currently want to play a wacky hospital simulation, even if the people mostly have pretend diseases like “Animal Magnetism” and “Hurty Leg.” One of my favorites, though, is “Night Fever,” and if you zoom in on any of the patients who are afflicted with it, you’ll see every one of them is wearing a white suit and doing John Travolta moves.\u003c/p>\n\u003cp>In this game, you build your GP’s offices and your treatment rooms, you hire doctors and nurses and assistants and janitors, and you install drink machines to try to keep the patients from getting angry. It’s all deeply goofy. You can build a whole treatment room that’s just for sick clowns. It looks like a circus tent. The clown goes into it, whirls around for a while, and is hopefully cured.\u003c/p>\n\u003cp>The game’s sense of time is either intentionally or unintentionally hilarious: Patients will sometimes storm out of the hospital angry about the time it’s taken for a doctor to see them, and you’ll see in their information that they waited in your hospital for like a year and a half, drinking from your drink machines, eating from your snack machines, and playing your arcade games. That’s just too long for a sick clown to chill.\u003c/p>\n\u003cp>People die in this game. (Side note: They die in \u003cem>Cities: Skylines\u003c/em> too, at which point a skull and crossbones flashes on the house until the body is retrieved by a hearse and taken to a cemetery that—yes, of course—you must build. You do not want to know what happens if you refuse to build a cemetery.) They die of their jokey, made-up ailments, and then they become ghosts, and they float around the hospital scaring the other patients until a janitor, one that carries the special ghost cleanup qualification, sucks them up with a vacuum. It’s so weird that I kind of can’t resist it.\u003c/p>\n\u003cp>The other thing \u003cem>TPH\u003c/em> has going for it is that it doesn’t require you to build too much infrastructure. I become impatient during the phase of games like \u003cem>Cities: Skylines\u003c/em> where you’re mostly connecting pipes in rectangles. In real life, I pride myself on not taking infrastructure for granted, but sitting in front of my TV with a controller, I want to be figuring out where my university will be and how many adorable parks I can have. I don’t especially want to be relocating pipes with pinpoint accuracy or managing traffic patterns by installing roundabouts. (Honestly, what good is building my own city if I can’t ban roundabouts?) \u003cem>Two Point Hospital \u003c/em>does make you place radiators to keep people from freezing, but it does not make you put in the hospital laundry or the transformers or anything else boring. More clowns! Fewer water pumps!\u003c/p>\n\u003cp>Take note: This game was developed by a British studio, so there is no billing of patients and there are no insurance companies. So that’s a couple of doses of reality you do not have to worry about.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Planet Zoo\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg\" alt=\"'Planet Zoo'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Planet Zoo’ \u003ccite>(Frontier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This one isn’t on Switch (right now), so to play it, I have to sneak up to my office and sequester myself up there to play on my PC. Believe it or not, I’ve spent a number of hours in the tutorial sections and I have yet to start anything from scratch, which might mean that I’m not really cut out for the zoo management business. But I persevere! For the animals, you see.\u003c/p>\n\u003cp>Your task in this game is to build (or improve) a zoo. You “adopt” animals from various sources, you build habitats, you outfit them with the plants and the terrain that the particular animal needs, and you try to keep them happy. You also, ideally, rehabilitate and release some into the wild and get conservation points. \u003cem>Planet Zoo\u003c/em> has rapidly become the game I use to escape my considerable real-world anxieties. When you get a notice that a couple of your hippos are fighting (in retrospect, I think I mismanaged the population of adult males and they started going after each other [imagine a big eyes emoji here]), it will really get your attention.\u003c/p>\n\u003cp>On the other hand, this is also a game where mistakes are viscerally upsetting. I have not had to mourn a zoo animal yet, but I had a very depressed pair of frogs the other day (I hadn’t adjusted the humidity correctly), and despite the fact that these frogs do not exist, I felt terrible. Sad frogs! My fault! This is also where I admit that I tend to talk to my animals a lot, out loud. “Oh no! Let’s fix your plants,” I will say to some imaginary lizards. It’s possible that isolation is taking a toll on me.\u003c/p>\n\u003cp>At the same time, if you learn that your tapirs are bored and you give them some toys, you can watch the bar that represents their well-being slide up through the yellow zone and into the green zone. At least \u003cem>somebody \u003c/em>is having a good time, even if they’re \u003ca href=\"https://www.nationalgeographic.com/animals/mammals/group/tapirs/\" target=\"_blank\" rel=\"noopener noreferrer\">kinda funny-looking pig-elephants\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Roller Coaster Tycoon Adventures\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg\" alt=\"'Roller Coaster Tycoon Adventures.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Roller Coaster Tycoon Adventures.’ \u003ccite>(Nintendo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Can I be straight with you? I didn’t know you could even play \u003cem>Roller Coaster Tycoon \u003c/em>anymore. This is another one that dates back to my CD-ROM game days, when mostly what I remember is trying to stop people from eating near the thrill rides, because it would mean I had to clean up after them when they got sick. I spent a lot of time on barf reduction strategies.\u003c/p>\n\u003cp>When I play it on the Switch, it’s richer than it used to be, but it’s still fundamentally the same game. You can still set up your merry-go-round first. Build a little path. Work your way up to arcade games, get some families hanging around, put in a lemonade stand. (I feel like it’s less about the upset tummies than earlier versions, too.) Eventually, you can set up your thrill rides and your big wooden coasters, and you can place a lot of wild topiary stuff for people to look at. This is one of the ones I play that’s the most straightforward. Unlike \u003cem>Cities: Skylines\u003c/em>, where problems can rapidly cascade until everyone in town hates you and you’re broke and everyone is sick and the dead bodies are piling up and no one has electricity (hypothetically this could happen you know maybe), as long as you keep a general eye on the goings-on, it seems like your amusement park does not become some kind of haunted monstrosity.\u003c/p>\n\u003cp>And unlike reality, this world seems to feature fewer unsettled stomachs than I remember.\u003c/p>\n\u003cp>\u003cstrong>No, Thank You: The Ones I Won’t Play\u003c/strong>\u003c/p>\n\u003cp>A final note: Not every imaginary world should be entered.\u003c/p>\n\u003cp>I wasn’t too far into poking around for interesting simulation games when I saw that one exists that’s called \u003cem>Prison Architect\u003c/em>. The reasons I was instinctively grossed out are probably obvious: I don’t find prisons whimsical, even more than I don’t find hospitals whimsical. I was intrigued, however, by a description that suggested that the point of it was that you could play around with rehabilitation options or “punitive” ones, and some part of me thought it might be interesting to explore how they impose consequences of your decisions. So I got it, and I fired it up, and I found that … the tutorial requires you to build an execution chamber with an electric chair. It shows you a graphic animation of your prisoner killing two people. You have to connect the electric chair directly to power, because it needs so much.\u003c/p>\n\u003cp>I quit that one.\u003c/p>\n\u003cp>A lot of time has been spent on the ethics of certain kinds of games. First-person shooters, for instance—what does it do to a person to practice shooting people? Or \u003cem>Grand Theft Auto\u003c/em>, which I once dabbled in years ago, only to quit because, of all things, I was a terrible driver. I never even \u003cem>got \u003c/em>to explore the causes of the moral panic; I just kept crashing the car.\u003c/p>\n\u003cp>But as much as escape appeals at this point, I don’t need to build an electric chair. I have enough qualms about zoning my citizens to improve their land values, demolishing their homes to build police stations, building glass walls in my zoo so people can look at my fighting hippos, and letting clowns die.\u003c/p>\n\u003cp>At some point, I realized that the key to why these simulations will always be fantasies even when they’re dark fantasies is that you can leave. I managed a city so badly once that practically every house was flashing with some dystopian symbol of failure, so … I made a new one. Moreover, one of the reasons you have to keep your citizens happy is that \u003cem>they \u003c/em>can leave. They can leave your city, they can stop going to your amusement park, they can storm out of the hospital. There’s always an exit to elsewhere. There’s always the X in the upper right-hand corner.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Get me out of here. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=I+Thought+A+Zoo%3A+Simulated+Games+For+Isolated+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m overwhelmed by so many things right now, not the least of which is that I keep having to build wind turbines.\u003c/p>\n\u003cp>Not in my yard, you understand: in my imaginary city. The city I created playing the game \u003cem>Cities: Skylines\u003c/em>. I play it on my Nintendo Switch, but you can play it on your Xbox, or your PlayStation, or your computer. It’s very much like the game \u003cem>Sim City \u003c/em>that I played years ago, and it proceeds in much the same way: You have some land. You build some roads, you create zoning (and really, who \u003cem>doesn’t \u003c/em>get into gaming in order to explore land-use planning?), you supply these areas with water and power, and then people begin to move in.\u003c/p>\n\u003cp>Maybe it’s not a surprise that I, as someone who lives alone and finds myself with time to kill in these Pandemic Days, have made a lot more use of my Switch in the last few months than in the last couple of years. Yes, I played \u003cem>Animal Crossing: New Horizons\u003c/em> when it first came out—in fact, I bought a copy for a stranger on Twitter, because she was in a pinch and it had been such a balm to me.\u003c/p>\n\u003cp>But I also play \u003cem>RBI Baseball 20 \u003c/em>(the official MLB-sanctioned baseball game) and \u003cem>Super Mega Baseball 3 \u003c/em>(the funnier, more whimsical baseball game), and I play \u003cem>Paper Mario: The Origami King \u003c/em>(the fact that you throw confetti like Rip Taylor in that game is just the best). I loved \u003cem>Kentucky Route Zero\u003c/em>, which is a moody, melancholy point-and-click storytelling game with musical interludes and all kinds of cool stuff. I’m okay at \u003cem>Breakfast Bar Tycoon\u003c/em>, which requires you to learn how to assemble breakfast sandwiches and serve grumpy customers (though anything where you’re eventually rushing stresses me out), and I’m not even going to list the games I’ve tried at which I’m completely hopeless. (One of my dear friends is a devotee of NBA2K, a game I find as stressful as an ancient version of myself might have found a tiger attack.)\u003c/p>\n\u003cp>But more than anything, I have been playing simulation games. Almost anything can be defined as a simulation of sorts, in that there’s always a reality that you’re living in, even if you’re jumping from platform to platform or shooting at bad guys. But here, I’m referring to the more methodical, world-creating, no-obvious-ending simulations like \u003ca href=\"https://www.npr.org/2018/07/18/629760717/put-your-face-in-it-how-gaming-helped-me-understand-my-dog\" target=\"_blank\" rel=\"noopener noreferrer\">the farming game \u003cem>Stardew Valley\u003c/em>\u003c/a>, where you set up your farm and then grow things and sell them and try to make friends. \u003cem>Animal Crossing \u003c/em>is a simulation, too. But it’s unlike most simulations, in that it’s not particularly stressful. Not a lot of really terrible things can happen very easily; it’s more that if you don’t play, you’re not out there earning goodies and catching new bugs. I recently picked it up again after a couple of months off, and my biggest problem was that my animal friends had really missed me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case in some of the other games I’ve been playing. Let me take you on a tour of a few of these imaginary worlds I’ve been building and, in some cases, messing up completely, while I hope that my actual world will steady.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cities: Skylines\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe\" alt=\"This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First: back to those wind turbines.\u003c/p>\n\u003cp>When you set up your \u003cem>Cities: Skylines \u003c/em>city, it needs power. Back when I used to play \u003cem>Sim City\u003c/em>, you were boxed into starting with a coal-fired power plant, which you plunked down in some unfortunate part of your city. Coal plants are dirty, but they’ll juice up your town, and they’re what you can afford. In \u003cem>Cities: Skylines\u003c/em>, you can start with coal—or you can put up wind turbines. You have to look at your maps and find a place to put them that’s windy enough, but they come in smaller units, so the initial cost for the power you need to get started is lower.\u003c/p>\n\u003cp>Plus, you’ll start seeing your citizens tweeting—sorry, I meant “chirping,” which is the game’s version of something that looks rather like tweeting—about how much they appreciate your commitment to green energy. (Of course, they also tweet complaints. Every time I see the chirp that gripes that it’s not that hard to create a working power grid, I say out loud something like “It’s harder than you think, jerk, so \u003cem>give \u003c/em>me a \u003cem>minute\u003c/em> if you \u003cem>don’t mind \u003c/em>and I will \u003cem>fix it\u003c/em>.” Then I go build some more power lines.)\u003c/p>\n\u003cp>But then you’ll add clean water, and your city will grow. Little bars at the bottom of the screen tell you how much demand there is for different kinds of zoning, and when you see that orange bar grow, that means your people want some Industrial Zone space. So you lay it out, and businesses move in. And then, before you know it, little lightning bolts start flashing over some of your residential housing. You’re short of power. If you still have money, you maybe build another wind turbine. Or two. Then the industrial buildings start flashing a little symbol that says they don’t have enough workers. So you build more residential areas. The population keeps growing. They begin to want things. They need the garbage collected. They need a medical clinic and a school, they tell you. They need fire trucks, they tell you.\u003c/p>\n\u003cp>They need police.\u003c/p>\n\u003cp>What is true in \u003cem>Cities: Skylines \u003c/em>is, of course, only what the people who developed it decided would be true. (Although on some platforms, you can download mods created by users that tinker with the programming.) And what’s true here is that you add police stations and you add budgets for them, and that prevents crime. Because, as the in-game explanation says, the more stations and money, the more patrol cars. And patrol cars cut crime in the buildings they drive by. (You can eventually watch your police cars drive around.)\u003c/p>\n\u003cp>Police cars aren’t the only thing that reduces crime: education does too. And police cars don’t do any good if they can’t get around because of traffic or other road issues. But in this game, police presence affects the happiness of your citizens in only one way, which is that they feel safer when there are more patrol cars driving around. If you don’t have enough police—what the game defines as “enough police”—your crime rate goes up. What that looks like is that instead of the lightning bolts that flash on a building without power or the hardhat person who flashes on a building without enough workers, a face in a ski mask flashes on a building where the crime rate is too high. “Save us all from guys in ski masks,” your imaginary citizens are allegedly thinking.\u003c/p>\n\u003cp>There is a small-“c” conservative bent to such a game, of course, because how things have worked is how they must always work. In a year in which even more attention than before has gone to calls to reform police, change how they operate, and potentially give them \u003cem>less \u003c/em>money, a strictly linear relationship between the number of police cars and the amount of happiness seems fanciful, like setting up the game so that adding roads increases a city’s population of red pandas.\u003c/p>\n\u003cp>Even these simulated worlds I am trying to build keep bumping into the real one.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Two Point Hospital\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe\" alt=\"In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist's office, and some vending machines, among other things.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist’s office, and some vending machines, among other things. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the list of uncomfortable collisions with reality is \u003cem>Two Point Hospital\u003c/em>, one of my favorites. I realize that just as there were people who wanted to watch \u003cem>Contagion \u003c/em>early in the pandemic but I couldn’t imagine it, there are people who would never currently want to play a wacky hospital simulation, even if the people mostly have pretend diseases like “Animal Magnetism” and “Hurty Leg.” One of my favorites, though, is “Night Fever,” and if you zoom in on any of the patients who are afflicted with it, you’ll see every one of them is wearing a white suit and doing John Travolta moves.\u003c/p>\n\u003cp>In this game, you build your GP’s offices and your treatment rooms, you hire doctors and nurses and assistants and janitors, and you install drink machines to try to keep the patients from getting angry. It’s all deeply goofy. You can build a whole treatment room that’s just for sick clowns. It looks like a circus tent. The clown goes into it, whirls around for a while, and is hopefully cured.\u003c/p>\n\u003cp>The game’s sense of time is either intentionally or unintentionally hilarious: Patients will sometimes storm out of the hospital angry about the time it’s taken for a doctor to see them, and you’ll see in their information that they waited in your hospital for like a year and a half, drinking from your drink machines, eating from your snack machines, and playing your arcade games. That’s just too long for a sick clown to chill.\u003c/p>\n\u003cp>People die in this game. (Side note: They die in \u003cem>Cities: Skylines\u003c/em> too, at which point a skull and crossbones flashes on the house until the body is retrieved by a hearse and taken to a cemetery that—yes, of course—you must build. You do not want to know what happens if you refuse to build a cemetery.) They die of their jokey, made-up ailments, and then they become ghosts, and they float around the hospital scaring the other patients until a janitor, one that carries the special ghost cleanup qualification, sucks them up with a vacuum. It’s so weird that I kind of can’t resist it.\u003c/p>\n\u003cp>The other thing \u003cem>TPH\u003c/em> has going for it is that it doesn’t require you to build too much infrastructure. I become impatient during the phase of games like \u003cem>Cities: Skylines\u003c/em> where you’re mostly connecting pipes in rectangles. In real life, I pride myself on not taking infrastructure for granted, but sitting in front of my TV with a controller, I want to be figuring out where my university will be and how many adorable parks I can have. I don’t especially want to be relocating pipes with pinpoint accuracy or managing traffic patterns by installing roundabouts. (Honestly, what good is building my own city if I can’t ban roundabouts?) \u003cem>Two Point Hospital \u003c/em>does make you place radiators to keep people from freezing, but it does not make you put in the hospital laundry or the transformers or anything else boring. More clowns! Fewer water pumps!\u003c/p>\n\u003cp>Take note: This game was developed by a British studio, so there is no billing of patients and there are no insurance companies. So that’s a couple of doses of reality you do not have to worry about.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Planet Zoo\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg\" alt=\"'Planet Zoo'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Planet Zoo’ \u003ccite>(Frontier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This one isn’t on Switch (right now), so to play it, I have to sneak up to my office and sequester myself up there to play on my PC. Believe it or not, I’ve spent a number of hours in the tutorial sections and I have yet to start anything from scratch, which might mean that I’m not really cut out for the zoo management business. But I persevere! For the animals, you see.\u003c/p>\n\u003cp>Your task in this game is to build (or improve) a zoo. You “adopt” animals from various sources, you build habitats, you outfit them with the plants and the terrain that the particular animal needs, and you try to keep them happy. You also, ideally, rehabilitate and release some into the wild and get conservation points. \u003cem>Planet Zoo\u003c/em> has rapidly become the game I use to escape my considerable real-world anxieties. When you get a notice that a couple of your hippos are fighting (in retrospect, I think I mismanaged the population of adult males and they started going after each other [imagine a big eyes emoji here]), it will really get your attention.\u003c/p>\n\u003cp>On the other hand, this is also a game where mistakes are viscerally upsetting. I have not had to mourn a zoo animal yet, but I had a very depressed pair of frogs the other day (I hadn’t adjusted the humidity correctly), and despite the fact that these frogs do not exist, I felt terrible. Sad frogs! My fault! This is also where I admit that I tend to talk to my animals a lot, out loud. “Oh no! Let’s fix your plants,” I will say to some imaginary lizards. It’s possible that isolation is taking a toll on me.\u003c/p>\n\u003cp>At the same time, if you learn that your tapirs are bored and you give them some toys, you can watch the bar that represents their well-being slide up through the yellow zone and into the green zone. At least \u003cem>somebody \u003c/em>is having a good time, even if they’re \u003ca href=\"https://www.nationalgeographic.com/animals/mammals/group/tapirs/\" target=\"_blank\" rel=\"noopener noreferrer\">kinda funny-looking pig-elephants\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Roller Coaster Tycoon Adventures\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg\" alt=\"'Roller Coaster Tycoon Adventures.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Roller Coaster Tycoon Adventures.’ \u003ccite>(Nintendo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Can I be straight with you? I didn’t know you could even play \u003cem>Roller Coaster Tycoon \u003c/em>anymore. This is another one that dates back to my CD-ROM game days, when mostly what I remember is trying to stop people from eating near the thrill rides, because it would mean I had to clean up after them when they got sick. I spent a lot of time on barf reduction strategies.\u003c/p>\n\u003cp>When I play it on the Switch, it’s richer than it used to be, but it’s still fundamentally the same game. You can still set up your merry-go-round first. Build a little path. Work your way up to arcade games, get some families hanging around, put in a lemonade stand. (I feel like it’s less about the upset tummies than earlier versions, too.) Eventually, you can set up your thrill rides and your big wooden coasters, and you can place a lot of wild topiary stuff for people to look at. This is one of the ones I play that’s the most straightforward. Unlike \u003cem>Cities: Skylines\u003c/em>, where problems can rapidly cascade until everyone in town hates you and you’re broke and everyone is sick and the dead bodies are piling up and no one has electricity (hypothetically this could happen you know maybe), as long as you keep a general eye on the goings-on, it seems like your amusement park does not become some kind of haunted monstrosity.\u003c/p>\n\u003cp>And unlike reality, this world seems to feature fewer unsettled stomachs than I remember.\u003c/p>\n\u003cp>\u003cstrong>No, Thank You: The Ones I Won’t Play\u003c/strong>\u003c/p>\n\u003cp>A final note: Not every imaginary world should be entered.\u003c/p>\n\u003cp>I wasn’t too far into poking around for interesting simulation games when I saw that one exists that’s called \u003cem>Prison Architect\u003c/em>. The reasons I was instinctively grossed out are probably obvious: I don’t find prisons whimsical, even more than I don’t find hospitals whimsical. I was intrigued, however, by a description that suggested that the point of it was that you could play around with rehabilitation options or “punitive” ones, and some part of me thought it might be interesting to explore how they impose consequences of your decisions. So I got it, and I fired it up, and I found that … the tutorial requires you to build an execution chamber with an electric chair. It shows you a graphic animation of your prisoner killing two people. You have to connect the electric chair directly to power, because it needs so much.\u003c/p>\n\u003cp>I quit that one.\u003c/p>\n\u003cp>A lot of time has been spent on the ethics of certain kinds of games. First-person shooters, for instance—what does it do to a person to practice shooting people? Or \u003cem>Grand Theft Auto\u003c/em>, which I once dabbled in years ago, only to quit because, of all things, I was a terrible driver. I never even \u003cem>got \u003c/em>to explore the causes of the moral panic; I just kept crashing the car.\u003c/p>\n\u003cp>But as much as escape appeals at this point, I don’t need to build an electric chair. I have enough qualms about zoning my citizens to improve their land values, demolishing their homes to build police stations, building glass walls in my zoo so people can look at my fighting hippos, and letting clowns die.\u003c/p>\n\u003cp>At some point, I realized that the key to why these simulations will always be fantasies even when they’re dark fantasies is that you can leave. I managed a city so badly once that practically every house was flashing with some dystopian symbol of failure, so … I made a new one. Moreover, one of the reasons you have to keep your citizens happy is that \u003cem>they \u003c/em>can leave. They can leave your city, they can stop going to your amusement park, they can storm out of the hospital. There’s always an exit to elsewhere. There’s always the X in the upper right-hand corner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Get me out of here. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=I+Thought+A+Zoo%3A+Simulated+Games+For+Isolated+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Escapist Land of 'Cottagecore,' From Taylor Swift to Marie Antoinette",
"headTitle": "The Escapist Land of ‘Cottagecore,’ From Taylor Swift to Marie Antoinette | KQED",
"content": "\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-a8s8OLBSE\u003c/p>\n\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CDucMupByQK/\u003c/p>\n\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K-a8s8OLBSE'\n title='//www.youtube.com/embed/K-a8s8OLBSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gloria Steinem once said that if periods were a facet of male biology, “menstruation would become an enviable, worthy, masculine event.” [aside postid='pop_106974']\u003c/p>\n\u003cp>It’s an event, alright. A whopping \u003ca href=\"https://www.womens-health-concern.org/help-and-advice/factsheets/period-pain/\" target=\"_blank\" rel=\"noopener noreferrer\">80%\u003c/a> of cis women experience menstrual cramps, and \u003ca href=\"https://www.womenshealth.gov/menstrual-cycle/premenstrual-syndrome\" target=\"_blank\" rel=\"noopener noreferrer\">90%\u003c/a> get some form of PMS in their lifetime. And for as high as those statistics are, America’s conversation around periods—though vastly improved from the old-fashioned PSAs of just a few decades ago—remains awash with euphemisms.\u003c/p>\n\u003cp>Bodyform, the second most popular sanitary towel producer in the U.K., deserves high praise then, for the boldness of its #wombstories campaign. Last month, it released a video that used actors, cartoons and stop-motion animation to effectively capture the agony and ecstasy of having a uterus. All in a little over three minutes.\u003c/p>\n\u003cp>We see the trepidation and relief that drops of menstrual blood can bring. We see the pain of periods and the misery of miscarriage. We see the joy of sex and birth. We see the unrelenting hot flashes of menopause. And, remarkably, we even see some humorous moments too. (It’s true that nothing brings on a period faster than new underwear…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JZoFqIxlbk0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The #wombstories campaign follows on from Bodyform’s landmark “Blood Normal” campaign from 2017. In it, the company stated in literal all caps: “Periods are normal. Showing them should be too.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdW6IRsuXaQ\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an event, alright. A whopping \u003ca href=\"https://www.womens-health-concern.org/help-and-advice/factsheets/period-pain/\" target=\"_blank\" rel=\"noopener noreferrer\">80%\u003c/a> of cis women experience menstrual cramps, and \u003ca href=\"https://www.womenshealth.gov/menstrual-cycle/premenstrual-syndrome\" target=\"_blank\" rel=\"noopener noreferrer\">90%\u003c/a> get some form of PMS in their lifetime. And for as high as those statistics are, America’s conversation around periods—though vastly improved from the old-fashioned PSAs of just a few decades ago—remains awash with euphemisms.\u003c/p>\n\u003cp>Bodyform, the second most popular sanitary towel producer in the U.K., deserves high praise then, for the boldness of its #wombstories campaign. Last month, it released a video that used actors, cartoons and stop-motion animation to effectively capture the agony and ecstasy of having a uterus. All in a little over three minutes.\u003c/p>\n\u003cp>We see the trepidation and relief that drops of menstrual blood can bring. We see the pain of periods and the misery of miscarriage. We see the joy of sex and birth. We see the unrelenting hot flashes of menopause. And, remarkably, we even see some humorous moments too. (It’s true that nothing brings on a period faster than new underwear…)\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/JZoFqIxlbk0'\n title='//www.youtube.com/embed/JZoFqIxlbk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "A Global Guide to Binge-worthy TV For the Pandemic",
"headTitle": "A Global Guide to Binge-worthy TV For the Pandemic | KQED",
"content": "\u003cp>What TV are you bingeing these days?\u003c/p>\n\u003cp>It’s a question you’ve probably been asked a lot—and asked others—five months into the pandemic. Movies are shut. Theater is on hold. So there’s not much else to do. I myself can’t stop watching Korean dramas (just finished \u003cem>Crash Landing On You\u003c/em>) and reruns of \u003cem>Gossip Girl\u003c/em> on Netflix.\u003c/p>\n\u003cp>Our blog covers the globe, so we were curious—what shows are people in other countries obsessed about in this pandemic? We asked reporters in nine countries to find out. — \u003cem>Malaka Gharib\u003c/em>\u003c/p>\n\u003ch3>Argentina: Time travel and missing kids in a German drama\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=cq2iTHoLrt0&feature=emb_logo\u003c/p>\n\u003cp>In Argentina, people are pondering existential questions. What is the meaning of life? What is time? And it’s not just because of the pandemic. Can it be because nearly everyone is watching the Netflix series \u003cem>Dark\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The suspenseful show from Germany, set in the town of Winden in the present day, explores time travel and the philosophical issues related to it. Members of four families try to discover the reason why children have mysteriously disappeared by heading to the past and future.\u003c/p>\n\u003cp>“I could have a lot of debates [around these existential topics] thanks to this show,” says Maria Pirsch, a 30-year-old \u003cem>Dark\u003c/em> fan and producer and photographer. She studied physics for a time and is interested in the idea of time travel.\u003c/p>\n\u003cp>Launched in 2017, \u003cem>Dark\u003c/em> is now in its third season. The latest installment was released on June 27 in Argentina—and some fans were so excited they watched it at 4 a.m. when it premiered. “I do not need sleep, I need answers,” wrote \u003ca href=\"https://twitter.com/gjoeldiaz/status/1276586300443897861\" target=\"_blank\" rel=\"noopener noreferrer\">someone\u003c/a> on Twitter.\u003c/p>\n\u003cp>Julia Pujol, a technician in a pathology laboratory, confesses that when Season 3 came out she watched two episodes and, after sleeping a little, watched the remaining six in a row. And like many fans stuck home in the pandemic, she found the quarantine to be a good excuse to watch the first two seasons over again.\u003c/p>\n\u003cp>\u003cem>Dark\u003c/em> is available in the U.S. \u003ca href=\"https://www.netflix.com/title/80100172\" target=\"_blank\" rel=\"noopener noreferrer\">on Netflix\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Anita Pouchard Serra is a photojournalist based in Argentina. \u003c/em>\u003c/p>\n\u003ch3>India: An iconic ’80s show with a demon king and a kidnapped wife\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1vgGkWGcnQk\u003c/p>\n\u003cp>\u003cem>Ramayan\u003c/em>, a series based on Hindu mythology, tells the story of Lord Ram as he goes into exile, fights the demon king Ravan who kidnapped his wife—then finally returns to his hometown Ayodhya to be crowned king.\u003c/p>\n\u003cp>That’s the plot of an iconic show that first aired in 1987—when TV sets weren’t common in India and neighbors would make a pilgrimage to the nearest home with TV to watch.\u003c/p>\n\u003cp>During the pandemic, fans \u003ca href=\"https://theprint.in/india/prasar-bharti-likely-to-telecast-ramayan-and-mahabharat-after-public-demand/388118/\" target=\"_blank\" rel=\"noopener noreferrer\">demanded its return\u003c/a> and state-run TV channel Doordarshan National (DD National) obliged.\u003c/p>\n\u003cp>DD National began re-telecasting Ramayan on March 28. That week, the channel’s viewership jumped to \u003ca href=\"https://urldefense.com/v3/__https://images.assettype.com/afaqs/2020-04/ab06bf4a-974a-4eb7-a05a-11e813eda4e2/COVID_19__TV_Smartphone_Consumption_During_Crisis__Edition_3__Final.pdf__;!!Iwwt!CEfgPG8uPPJXImZJEbEysEmSvkM5u9YrMFfrd8Vr4vC-LLPr5aUepN6RJBBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">545 million\u003c/a> from about 9 million in January.\u003c/p>\n\u003cp>Social media is now full of nostalgic posts from people reliving their childhood memories—many with their own kids this time. \u003cem>Ramayan\u003c/em> is now streaming on Disney-owned \u003ca href=\"https://urldefense.com/v3/__https:/www.hotstar.com/in/tv/ramayan/s-2695/seasons/season-1/ss-7674__;!!Iwwt!DvrJMIkvoeUsaEJlms3PWL9c2G_xODYnsdbQhqgQ015gqQJy7ZN_-K6ynXW4%24\" target=\"_blank\" rel=\"noopener noreferrer\">Hotstar\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/shweta_shalini/status/1243753829042024448\u003c/p>\n\u003cp>\u003cem>Sushmita Pathak is a producer for NPR in Mumbai. \u003c/em>\u003c/p>\n\u003ch3>Colombia: A telenovela about 3 brothers out for revenge\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=j8k5PqoXJ9A\u003c/p>\n\u003cp>In Colombia, telenovela addicts are binge-watching an old favorite, \u003cem>Pasión de Gavilanes\u003c/em>, which has made a comeback 17 years after it originally aired.\u003c/p>\n\u003cp>The TV network Caracol says it is re-running the Colombian telenovela—the \u003ca href=\"https://urldefense.com/v3/__https:/www.ratingcolombia.com/2010/12/cifras-de-audiencia-en-colombia.html__;!!Iwwt!E6DRtHfrt_nkVrRLVaqcnztpDRaEi4GjJq_F1PLZqtP5ahC7w37Tb2uWzip6%24\" target=\"_blank\" rel=\"noopener noreferrer\">second-most watched\u003c/a> show in its history — during lockdown at its audience’s request, given that recordings of current shows are on pause due to the pandemic.\u003c/p>\n\u003cp>Over 188 episodes, \u003cem>Pasión de Gavilanes\u003c/em> tells the story of three brothers looking to avenge the suicide of their sister, Libia Reyes. She was in a relationship with a wealthy married man named Bernardo Elizondo and got pregnant. Then he died. She went to his family to tell them that she was having his baby. And after Elizondo’s wife humiliated her, she threw herself off a bridge.\u003c/p>\n\u003cp>The Reyes brothers descend upon the Elizondo household posing as bricklayers. Their plan is to seduce Elizondo’s three daughters as payback for their sister’s death.\u003c/p>\n\u003cp>María Fernanda Martínez, 24, says she is re-watching the novela with her mother during lockdown out of “pure and simple nostalgia.”\u003c/p>\n\u003cp>Hilda Cárdenas Vergara, 57, who watched the novela in its heyday, enjoys reliving the experience with her family during lockdown. “There’s not one boring episode,” she told NPR.\u003c/p>\n\u003cp>But not everyone feels the same. Some Twitter users \u003ca href=\"https://twitter.com/virustropical7/status/1288651760182140933\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> the storyline is classist, as Gabriela, the wife of late Elizondo, punishes her wealthy daughters for falling in love with working class men. Others \u003ca href=\"https://twitter.com/Maria_RuizG1/status/1280313198323929088\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> it \u003ca href=\"https://twitter.com/Ivanyou23/status/1280183522406383618\" target=\"_blank\" rel=\"noopener noreferrer\">glorifies\u003c/a> physical and verbal violence against women.\u003c/p>\n\u003cp>Pasión de Gavilanes is currently \u003ca href=\"https://twitter.com/RatingColombia/status/1290632728883462146\" target=\"_blank\" rel=\"noopener noreferrer\">leading\u003c/a> national TV ratings and is the most-watched show on Colombian Netflix. It’s also available for streaming in Spanish on U.S. Netflix.\u003c/p>\n\u003cp>\u003cem>Sophie Foggin is a journalist based in Medellin, Colombia, covering politics, human rights, history and justice in Latin America.\u003c/em>\u003c/p>\n\u003ch3>Kenya: Rich man falls for poor woman—but he has another lover\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=rk3j_UvI7bo\u003c/p>\n\u003cp>One of the most-watched TV shows in Kenya during the pandemic is \u003cem>Maria\u003c/em>, a 30-minute Kenyan drama that revolves around the life of Luwi, the youngest son of a wealthy family. Luwi falls in love with gorgeous—and poor—Maria. Only he has another lover, and when she finds out, things get complicated.\u003c/p>\n\u003cp>Even before COVID-19 came along, the Swahili-language drama was one of the most popular TV shows in the country, according to the GeoPoll Audience Measurement Report, which measures viewership. In fact, when the actor Brian Ogana, who plays Luwi, visited a primary school in Kibera in March, hooting and hollering \u003ca href=\"https://www.youtube.com/watch?v=u7PHyaSQlgE\" target=\"_blank\" rel=\"noopener noreferrer\">young fans\u003c/a> could barely contain their excitement.\u003c/p>\n\u003cp>And people love Yasmin Said, the actress who plays Maria. “You have bewitched my family! As from 6 p.m., people in this family run up and down to prepare so as not to miss you in action. Congratulations,” \u003ca href=\"https://youtu.be/u7PHyaSQlgE?t=2150\" target=\"_blank\" rel=\"noopener noreferrer\">wrote one person on Twitter\u003c/a>.\u003c/p>\n\u003cp>New episodes continue to air throughout the pandemic. The half-hour show is broadcast from Monday to Friday at 7:30 p.m., with reruns on Saturday from 4-6 p.m. There are about 150 episodes to date.\u003c/p>\n\u003cp>The show has been one of Julia Anyango’s favorite ways to pass time since the pandemic began. A teacher by profession, living in the Korogocho slums in Nairobi, she’s had to stop work due to school closures.\u003c/p>\n\u003cp>Her favorite character is Maria: “She gives the rich family problems because she is coming from a ghetto life,” Anyango says.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.youtube.com/watch?v=JuEmiZShnp8\" target=\"_blank\" rel=\"noopener noreferrer\">episodes\u003c/a> can be found on YouTube.\u003c/p>\n\u003cp>\u003cem>Thomas Bwire is a co-founder and editor at \u003c/em>\u003ca href=\"https://www.pri.org/tags/habari-kibra\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Habari Kibra\u003c/em>\u003c/a>\u003cem>, a news hub that focuses on reporting stories from the Kibera community. \u003c/em>\u003c/p>\n\u003ch3>Israel: Spies, lovers and Iran’s nuclear reactor are part of the plot\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=eLkwk5r5034\u003c/p>\n\u003cp>The hot new binge-watch in Israel is \u003cem>Tehran\u003c/em>, an Israeli spy thriller about Israel’s covert war with its archenemy Iran. A young Mossad agent goes on her first mission to her home city of Tehran to help Israel take out an Iranian nuclear reactor, but the mission goes awry and she ends up falling in love with an Iranian activist who opposes the regime.\u003c/p>\n\u003cp>The show is based on real-life tensions between the Jewish state and the Islamic republic’s rulers. It appears to be the first popular Israeli TV series to focus on contemporary Iran. Israel and Iran have hostile relations and Iran bans Israelis from visiting. So there’s a lot of curiosity.\u003c/p>\n\u003cp>The main Iranian character is portrayed by Iranian-born actor Shervin Alenabi. Based in London, he says his participation in the show is controversial in Iran—and it means he may not be able to travel back to the country and see his family because Iran strictly forbids interaction with Israel.\u003c/p>\n\u003cp>The 8-episode show, with each episode about 45 minutes long, premiered on June 22 on Israel’s public TV broadcaster \u003ca href=\"https://www.kan.org.il/page.aspx?landingPageId=1211\" target=\"_blank\" rel=\"noopener noreferrer\">Kan\u003c/a>. The show is in Hebrew, Farsi and English with Hebrew subtitles.\u003c/p>\n\u003cp>\u003cem>Daniel Estrin is NPR’s international correspondent in Jerusalem. \u003c/em>\u003c/p>\n\u003ch3>China: Kids solve a double homicide\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=4X0zYbf1pYQ\u003c/p>\n\u003cp>China is enthralled by \u003cem>The Bad Kids\u003c/em>, a Chinese thriller TV drama that tells the tale of three young children who decide to take justice into their own hands after they accidentally capture on camera a cliffside double homicide. In their pursuit of the truth, the kids are caught up in revenge and blackmail.\u003c/p>\n\u003cp>It’s filled with thrilling twists and turns: it obfuscates ethical boundaries for its characters and tests its viewers’ moral compass.\u003c/p>\n\u003cp>The 12-episode series premiered on the Chinese streaming platform iQIYI on June 16. And it’s won over China’s demanding viewers—it received a 8.9/10 rating on the notoriously hard-to-please review site Douban. Even \u003cem>The People’s Daily\u003c/em>, the official Communist Party paper, published an \u003ca href=\"https://www.thepaper.cn/newsDetail_forward_8053235\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> praising the show for being “an exemplar of high-quality short series.”\u003c/p>\n\u003cp>Chinese drama shows tend to favor interminable plot lines (\u003cem>The Story of Yanxi Palace\u003c/em>, another wildly popular TV series from two summers ago, required serious commitment to finish all 75 episodes.) But most important, the show is seen as the herald of a new age in Chinese television, \u003ca href=\"https://www.theguardian.com/world/2020/jul/10/cute-but-cruel-the-drama-hailed-a-chinese-tv-milestone-hidden-corner\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> that expands beyond traditional genres like period pieces, family drama and the Sino-Japanese War.\u003c/p>\n\u003cp>\u003cem>Amy Cheng is a producer for NPR in Beijing. \u003c/em>\u003c/p>\n\u003ch3>Senegal: Love affairs—and lots of controversy\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=b_OBIP_PXFQ\u003c/p>\n\u003cp>Senegal’s TV series \u003cem>Infidéles—\u003c/em>or “unfaithful” in French—is dripping with drama. Within the first few minutes of the first episode, audiences were introduced to half a dozen characters and a few different entanglements. A wife and husband dispute over social media posts, but quickly make up; one woman confides to her male friend that her boyfriend—their mutual friend—is physically abusing her; and two friends pressure a third friend who prefers to wear the hijab to dress more provocatively and study less.\u003c/p>\n\u003cp>The series, which premiered on July 18 on YouTube and Senegalese TV channel SenTV, airs every Wednesday and Friday. And it has both fans and detractors.\u003c/p>\n\u003cp>In the country of 16 million, the YouTube videos get well over 1.5 million views, but most people prefer to watch it on TV as it airs, says Senegalese cultural critic Aboubacar Demba Cissokho. “People are watching it on TV so that afterward on Facebook or WhatsApp they can engage in the reactions that are happening,” he says.\u003c/p>\n\u003cp>The show has also created controversy. After a character with the same name as the mother of a historic Muslim leader in the country—Mame Diarra—was portrayed in a scene that discussed same-sex relations (which are outlawed in Senegal), a leader of a local conservative nonprofit organization, Jaamra, publicly denounced the name choice.\u003c/p>\n\u003cp>On the other hand, says Cissokho, the episode’s controversy highlights the contentious LGBT issues in the country. “People are already talking about these issues, but the debate becomes a public debate, and it takes on another dimension when it’s portrayed on television.”\u003c/p>\n\u003cp>\u003cem>Ricci Shryock is a freelance photographer and journalist based in Dakar, Senegal. Follow her on Instagram at \u003c/em>\u003ca href=\"https://www.instagram.com/ricci_s/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@ricci_s\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003ch3>Pakistan: They call it ‘The Muslim Game of Thrones’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=FfdXu9jZFKs\u003c/p>\n\u003cp>In Pakistan, the must-watch show is a wildly popular Turkish drama that local media call “The Muslim Game of Thrones.”\u003c/p>\n\u003cp>\u003cem>Resurrection: Ertugrul \u003c/em>dramatizes the story of the man it’s named for—the father of the founder of the Ottoman Empire. It was the last sweeping Muslim empire, ruling swathes of Europe, the Middle East and North Africa for more than 600 years, falling apart in the aftermath of World War I.\u003c/p>\n\u003cp>The 5-season series, which first premiered on the Turkish channel TRT 1 in 2014, has drama, heroes and heroines and chaste romance with Muslim characters at its center. That’s key to its popularity in Pakistan, a Muslim-majority country of more than 200 million people, where it’s seen as gripping, wholesome family fare. And it lets Pakistanis indulge in nostalgia for the glories of the Muslim past.\u003c/p>\n\u003cp>“What has affected me most about [Etrugrul is] the way he united the entire tribe and formed the Ottoman Empire,” \u003ca href=\"https://images.dawn.com/news/1185375\" target=\"_blank\" rel=\"noopener noreferrer\">says Muhammad Shahzad Cheema to local newspaper \u003cem>Dawn\u003c/em>\u003c/a>. He is such a fan that he arranged for a statue of the character of Ertugrul from the show to be erected in his Lahore housing community in June.\u003c/p>\n\u003cp>\u003ca href=\"https://images.dawn.com/news/1185319\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Minister Imran Khan\u003c/a>, a playboy-turned-conservative, is also a fan. He recommended Pakistanis watch the show to connect to their Muslim roots.\u003c/p>\n\u003cp>The show isn’t without its critics. In an op-ed for \u003cem>Dawn\u003c/em>, liberal writer \u003ca href=\"https://www.dawn.com/news/1561638\" target=\"_blank\" rel=\"noopener noreferrer\">Pervez Hoodbhoy\u003c/a>, described it as “frankly propagandistic” and said the violence inflicted by the Muslim heroes “suggests the way forward is through the sword.”\u003c/p>\n\u003cp>\u003cem>Diaa Hadid is NPR’s international correspondent in Islamabad. \u003c/em>\u003c/p>\n\u003ch3>South Africa: Kidnapped at Birth, Found 17 Years Later\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2m0Cm2kMOBU\u003c/p>\n\u003cp>When a newborn named Zephany Nurse was kidnapped from beside her mother’s bed in a Cape Town hospital in 1997, the case gripped South Africa. And then the trail went cold. That is, until 17 years later, when the Nurses’ younger daughter spotted a girl who bore an uncanny resemblance to her at her new high school, and a DNA test proved they were sisters.\u003c/p>\n\u003cp>Zephany Nurse’s stranger-than-fiction story is now the basis of a popular South African Netflix series, \u003cem>Blood & Water\u003c/em>. The series turns up the glamor on the Nurses’ story by giving it the Gossip Girl treatment, with the fictional retelling set against the backdrop of an ivy-covered Cape Town prep school whose students come home to waterfront mansions and spend their weekends drinking cocktails at beachside hotels.\u003c/p>\n\u003cp>For South Africans, the show is an escapist fantasy, but for a country used to wincing through Western retellings of their stories (think Morgan Freeman’s strangely American-accented Nelson Mandela in \u003cem>Invictus)\u003c/em> it’s also a reversal of roles. “I’ve seen a lot of excitement… in the States, to see young Black kids be represented,” \u003ca href=\"https://www.elle.com/culture/movies-tv/a32647424/ama-qamata-blood-and-water-netflix/\" target=\"_blank\" rel=\"noopener noreferrer\">Ama Qamata, the show’s lead, told \u003cem>Elle\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Blood & Water\u003c/em>, only the second \u003ca href=\"https://www.netflix.com/title/81044547\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix original series from Africa\u003c/a>, has been streaming globally on the platform since May and was renewed for a second season.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ryan Lenora Brown is a reporter based in Johannesburg, South Africa. She writes frequently about women, migration and pop culture. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Global+Guide+To+Binge-worthy+TV+For+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What TV are you bingeing these days?\u003c/p>\n\u003cp>It’s a question you’ve probably been asked a lot—and asked others—five months into the pandemic. Movies are shut. Theater is on hold. So there’s not much else to do. I myself can’t stop watching Korean dramas (just finished \u003cem>Crash Landing On You\u003c/em>) and reruns of \u003cem>Gossip Girl\u003c/em> on Netflix.\u003c/p>\n\u003cp>Our blog covers the globe, so we were curious—what shows are people in other countries obsessed about in this pandemic? We asked reporters in nine countries to find out. — \u003cem>Malaka Gharib\u003c/em>\u003c/p>\n\u003ch3>Argentina: Time travel and missing kids in a German drama\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cq2iTHoLrt0'\n title='//www.youtube.com/embed/cq2iTHoLrt0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Argentina, people are pondering existential questions. What is the meaning of life? What is time? And it’s not just because of the pandemic. Can it be because nearly everyone is watching the Netflix series \u003cem>Dark\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The suspenseful show from Germany, set in the town of Winden in the present day, explores time travel and the philosophical issues related to it. Members of four families try to discover the reason why children have mysteriously disappeared by heading to the past and future.\u003c/p>\n\u003cp>“I could have a lot of debates [around these existential topics] thanks to this show,” says Maria Pirsch, a 30-year-old \u003cem>Dark\u003c/em> fan and producer and photographer. She studied physics for a time and is interested in the idea of time travel.\u003c/p>\n\u003cp>Launched in 2017, \u003cem>Dark\u003c/em> is now in its third season. The latest installment was released on June 27 in Argentina—and some fans were so excited they watched it at 4 a.m. when it premiered. “I do not need sleep, I need answers,” wrote \u003ca href=\"https://twitter.com/gjoeldiaz/status/1276586300443897861\" target=\"_blank\" rel=\"noopener noreferrer\">someone\u003c/a> on Twitter.\u003c/p>\n\u003cp>Julia Pujol, a technician in a pathology laboratory, confesses that when Season 3 came out she watched two episodes and, after sleeping a little, watched the remaining six in a row. And like many fans stuck home in the pandemic, she found the quarantine to be a good excuse to watch the first two seasons over again.\u003c/p>\n\u003cp>\u003cem>Dark\u003c/em> is available in the U.S. \u003ca href=\"https://www.netflix.com/title/80100172\" target=\"_blank\" rel=\"noopener noreferrer\">on Netflix\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Anita Pouchard Serra is a photojournalist based in Argentina. \u003c/em>\u003c/p>\n\u003ch3>India: An iconic ’80s show with a demon king and a kidnapped wife\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1vgGkWGcnQk'\n title='//www.youtube.com/embed/1vgGkWGcnQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Ramayan\u003c/em>, a series based on Hindu mythology, tells the story of Lord Ram as he goes into exile, fights the demon king Ravan who kidnapped his wife—then finally returns to his hometown Ayodhya to be crowned king.\u003c/p>\n\u003cp>That’s the plot of an iconic show that first aired in 1987—when TV sets weren’t common in India and neighbors would make a pilgrimage to the nearest home with TV to watch.\u003c/p>\n\u003cp>During the pandemic, fans \u003ca href=\"https://theprint.in/india/prasar-bharti-likely-to-telecast-ramayan-and-mahabharat-after-public-demand/388118/\" target=\"_blank\" rel=\"noopener noreferrer\">demanded its return\u003c/a> and state-run TV channel Doordarshan National (DD National) obliged.\u003c/p>\n\u003cp>DD National began re-telecasting Ramayan on March 28. That week, the channel’s viewership jumped to \u003ca href=\"https://urldefense.com/v3/__https://images.assettype.com/afaqs/2020-04/ab06bf4a-974a-4eb7-a05a-11e813eda4e2/COVID_19__TV_Smartphone_Consumption_During_Crisis__Edition_3__Final.pdf__;!!Iwwt!CEfgPG8uPPJXImZJEbEysEmSvkM5u9YrMFfrd8Vr4vC-LLPr5aUepN6RJBBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">545 million\u003c/a> from about 9 million in January.\u003c/p>\n\u003cp>Social media is now full of nostalgic posts from people reliving their childhood memories—many with their own kids this time. \u003cem>Ramayan\u003c/em> is now streaming on Disney-owned \u003ca href=\"https://urldefense.com/v3/__https:/www.hotstar.com/in/tv/ramayan/s-2695/seasons/season-1/ss-7674__;!!Iwwt!DvrJMIkvoeUsaEJlms3PWL9c2G_xODYnsdbQhqgQ015gqQJy7ZN_-K6ynXW4%24\" target=\"_blank\" rel=\"noopener noreferrer\">Hotstar\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Sushmita Pathak is a producer for NPR in Mumbai. \u003c/em>\u003c/p>\n\u003ch3>Colombia: A telenovela about 3 brothers out for revenge\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j8k5PqoXJ9A'\n title='//www.youtube.com/embed/j8k5PqoXJ9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Colombia, telenovela addicts are binge-watching an old favorite, \u003cem>Pasión de Gavilanes\u003c/em>, which has made a comeback 17 years after it originally aired.\u003c/p>\n\u003cp>The TV network Caracol says it is re-running the Colombian telenovela—the \u003ca href=\"https://urldefense.com/v3/__https:/www.ratingcolombia.com/2010/12/cifras-de-audiencia-en-colombia.html__;!!Iwwt!E6DRtHfrt_nkVrRLVaqcnztpDRaEi4GjJq_F1PLZqtP5ahC7w37Tb2uWzip6%24\" target=\"_blank\" rel=\"noopener noreferrer\">second-most watched\u003c/a> show in its history — during lockdown at its audience’s request, given that recordings of current shows are on pause due to the pandemic.\u003c/p>\n\u003cp>Over 188 episodes, \u003cem>Pasión de Gavilanes\u003c/em> tells the story of three brothers looking to avenge the suicide of their sister, Libia Reyes. She was in a relationship with a wealthy married man named Bernardo Elizondo and got pregnant. Then he died. She went to his family to tell them that she was having his baby. And after Elizondo’s wife humiliated her, she threw herself off a bridge.\u003c/p>\n\u003cp>The Reyes brothers descend upon the Elizondo household posing as bricklayers. Their plan is to seduce Elizondo’s three daughters as payback for their sister’s death.\u003c/p>\n\u003cp>María Fernanda Martínez, 24, says she is re-watching the novela with her mother during lockdown out of “pure and simple nostalgia.”\u003c/p>\n\u003cp>Hilda Cárdenas Vergara, 57, who watched the novela in its heyday, enjoys reliving the experience with her family during lockdown. “There’s not one boring episode,” she told NPR.\u003c/p>\n\u003cp>But not everyone feels the same. Some Twitter users \u003ca href=\"https://twitter.com/virustropical7/status/1288651760182140933\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> the storyline is classist, as Gabriela, the wife of late Elizondo, punishes her wealthy daughters for falling in love with working class men. Others \u003ca href=\"https://twitter.com/Maria_RuizG1/status/1280313198323929088\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> it \u003ca href=\"https://twitter.com/Ivanyou23/status/1280183522406383618\" target=\"_blank\" rel=\"noopener noreferrer\">glorifies\u003c/a> physical and verbal violence against women.\u003c/p>\n\u003cp>Pasión de Gavilanes is currently \u003ca href=\"https://twitter.com/RatingColombia/status/1290632728883462146\" target=\"_blank\" rel=\"noopener noreferrer\">leading\u003c/a> national TV ratings and is the most-watched show on Colombian Netflix. It’s also available for streaming in Spanish on U.S. Netflix.\u003c/p>\n\u003cp>\u003cem>Sophie Foggin is a journalist based in Medellin, Colombia, covering politics, human rights, history and justice in Latin America.\u003c/em>\u003c/p>\n\u003ch3>Kenya: Rich man falls for poor woman—but he has another lover\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rk3j_UvI7bo'\n title='//www.youtube.com/embed/rk3j_UvI7bo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the most-watched TV shows in Kenya during the pandemic is \u003cem>Maria\u003c/em>, a 30-minute Kenyan drama that revolves around the life of Luwi, the youngest son of a wealthy family. Luwi falls in love with gorgeous—and poor—Maria. Only he has another lover, and when she finds out, things get complicated.\u003c/p>\n\u003cp>Even before COVID-19 came along, the Swahili-language drama was one of the most popular TV shows in the country, according to the GeoPoll Audience Measurement Report, which measures viewership. In fact, when the actor Brian Ogana, who plays Luwi, visited a primary school in Kibera in March, hooting and hollering \u003ca href=\"https://www.youtube.com/watch?v=u7PHyaSQlgE\" target=\"_blank\" rel=\"noopener noreferrer\">young fans\u003c/a> could barely contain their excitement.\u003c/p>\n\u003cp>And people love Yasmin Said, the actress who plays Maria. “You have bewitched my family! As from 6 p.m., people in this family run up and down to prepare so as not to miss you in action. Congratulations,” \u003ca href=\"https://youtu.be/u7PHyaSQlgE?t=2150\" target=\"_blank\" rel=\"noopener noreferrer\">wrote one person on Twitter\u003c/a>.\u003c/p>\n\u003cp>New episodes continue to air throughout the pandemic. The half-hour show is broadcast from Monday to Friday at 7:30 p.m., with reruns on Saturday from 4-6 p.m. There are about 150 episodes to date.\u003c/p>\n\u003cp>The show has been one of Julia Anyango’s favorite ways to pass time since the pandemic began. A teacher by profession, living in the Korogocho slums in Nairobi, she’s had to stop work due to school closures.\u003c/p>\n\u003cp>Her favorite character is Maria: “She gives the rich family problems because she is coming from a ghetto life,” Anyango says.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.youtube.com/watch?v=JuEmiZShnp8\" target=\"_blank\" rel=\"noopener noreferrer\">episodes\u003c/a> can be found on YouTube.\u003c/p>\n\u003cp>\u003cem>Thomas Bwire is a co-founder and editor at \u003c/em>\u003ca href=\"https://www.pri.org/tags/habari-kibra\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Habari Kibra\u003c/em>\u003c/a>\u003cem>, a news hub that focuses on reporting stories from the Kibera community. \u003c/em>\u003c/p>\n\u003ch3>Israel: Spies, lovers and Iran’s nuclear reactor are part of the plot\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eLkwk5r5034'\n title='//www.youtube.com/embed/eLkwk5r5034'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The hot new binge-watch in Israel is \u003cem>Tehran\u003c/em>, an Israeli spy thriller about Israel’s covert war with its archenemy Iran. A young Mossad agent goes on her first mission to her home city of Tehran to help Israel take out an Iranian nuclear reactor, but the mission goes awry and she ends up falling in love with an Iranian activist who opposes the regime.\u003c/p>\n\u003cp>The show is based on real-life tensions between the Jewish state and the Islamic republic’s rulers. It appears to be the first popular Israeli TV series to focus on contemporary Iran. Israel and Iran have hostile relations and Iran bans Israelis from visiting. So there’s a lot of curiosity.\u003c/p>\n\u003cp>The main Iranian character is portrayed by Iranian-born actor Shervin Alenabi. Based in London, he says his participation in the show is controversial in Iran—and it means he may not be able to travel back to the country and see his family because Iran strictly forbids interaction with Israel.\u003c/p>\n\u003cp>The 8-episode show, with each episode about 45 minutes long, premiered on June 22 on Israel’s public TV broadcaster \u003ca href=\"https://www.kan.org.il/page.aspx?landingPageId=1211\" target=\"_blank\" rel=\"noopener noreferrer\">Kan\u003c/a>. The show is in Hebrew, Farsi and English with Hebrew subtitles.\u003c/p>\n\u003cp>\u003cem>Daniel Estrin is NPR’s international correspondent in Jerusalem. \u003c/em>\u003c/p>\n\u003ch3>China: Kids solve a double homicide\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4X0zYbf1pYQ'\n title='//www.youtube.com/embed/4X0zYbf1pYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>China is enthralled by \u003cem>The Bad Kids\u003c/em>, a Chinese thriller TV drama that tells the tale of three young children who decide to take justice into their own hands after they accidentally capture on camera a cliffside double homicide. In their pursuit of the truth, the kids are caught up in revenge and blackmail.\u003c/p>\n\u003cp>It’s filled with thrilling twists and turns: it obfuscates ethical boundaries for its characters and tests its viewers’ moral compass.\u003c/p>\n\u003cp>The 12-episode series premiered on the Chinese streaming platform iQIYI on June 16. And it’s won over China’s demanding viewers—it received a 8.9/10 rating on the notoriously hard-to-please review site Douban. Even \u003cem>The People’s Daily\u003c/em>, the official Communist Party paper, published an \u003ca href=\"https://www.thepaper.cn/newsDetail_forward_8053235\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> praising the show for being “an exemplar of high-quality short series.”\u003c/p>\n\u003cp>Chinese drama shows tend to favor interminable plot lines (\u003cem>The Story of Yanxi Palace\u003c/em>, another wildly popular TV series from two summers ago, required serious commitment to finish all 75 episodes.) But most important, the show is seen as the herald of a new age in Chinese television, \u003ca href=\"https://www.theguardian.com/world/2020/jul/10/cute-but-cruel-the-drama-hailed-a-chinese-tv-milestone-hidden-corner\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> that expands beyond traditional genres like period pieces, family drama and the Sino-Japanese War.\u003c/p>\n\u003cp>\u003cem>Amy Cheng is a producer for NPR in Beijing. \u003c/em>\u003c/p>\n\u003ch3>Senegal: Love affairs—and lots of controversy\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b_OBIP_PXFQ'\n title='//www.youtube.com/embed/b_OBIP_PXFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Senegal’s TV series \u003cem>Infidéles—\u003c/em>or “unfaithful” in French—is dripping with drama. Within the first few minutes of the first episode, audiences were introduced to half a dozen characters and a few different entanglements. A wife and husband dispute over social media posts, but quickly make up; one woman confides to her male friend that her boyfriend—their mutual friend—is physically abusing her; and two friends pressure a third friend who prefers to wear the hijab to dress more provocatively and study less.\u003c/p>\n\u003cp>The series, which premiered on July 18 on YouTube and Senegalese TV channel SenTV, airs every Wednesday and Friday. And it has both fans and detractors.\u003c/p>\n\u003cp>In the country of 16 million, the YouTube videos get well over 1.5 million views, but most people prefer to watch it on TV as it airs, says Senegalese cultural critic Aboubacar Demba Cissokho. “People are watching it on TV so that afterward on Facebook or WhatsApp they can engage in the reactions that are happening,” he says.\u003c/p>\n\u003cp>The show has also created controversy. After a character with the same name as the mother of a historic Muslim leader in the country—Mame Diarra—was portrayed in a scene that discussed same-sex relations (which are outlawed in Senegal), a leader of a local conservative nonprofit organization, Jaamra, publicly denounced the name choice.\u003c/p>\n\u003cp>On the other hand, says Cissokho, the episode’s controversy highlights the contentious LGBT issues in the country. “People are already talking about these issues, but the debate becomes a public debate, and it takes on another dimension when it’s portrayed on television.”\u003c/p>\n\u003cp>\u003cem>Ricci Shryock is a freelance photographer and journalist based in Dakar, Senegal. Follow her on Instagram at \u003c/em>\u003ca href=\"https://www.instagram.com/ricci_s/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@ricci_s\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003ch3>Pakistan: They call it ‘The Muslim Game of Thrones’\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FfdXu9jZFKs'\n title='//www.youtube.com/embed/FfdXu9jZFKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Pakistan, the must-watch show is a wildly popular Turkish drama that local media call “The Muslim Game of Thrones.”\u003c/p>\n\u003cp>\u003cem>Resurrection: Ertugrul \u003c/em>dramatizes the story of the man it’s named for—the father of the founder of the Ottoman Empire. It was the last sweeping Muslim empire, ruling swathes of Europe, the Middle East and North Africa for more than 600 years, falling apart in the aftermath of World War I.\u003c/p>\n\u003cp>The 5-season series, which first premiered on the Turkish channel TRT 1 in 2014, has drama, heroes and heroines and chaste romance with Muslim characters at its center. That’s key to its popularity in Pakistan, a Muslim-majority country of more than 200 million people, where it’s seen as gripping, wholesome family fare. And it lets Pakistanis indulge in nostalgia for the glories of the Muslim past.\u003c/p>\n\u003cp>“What has affected me most about [Etrugrul is] the way he united the entire tribe and formed the Ottoman Empire,” \u003ca href=\"https://images.dawn.com/news/1185375\" target=\"_blank\" rel=\"noopener noreferrer\">says Muhammad Shahzad Cheema to local newspaper \u003cem>Dawn\u003c/em>\u003c/a>. He is such a fan that he arranged for a statue of the character of Ertugrul from the show to be erected in his Lahore housing community in June.\u003c/p>\n\u003cp>\u003ca href=\"https://images.dawn.com/news/1185319\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Minister Imran Khan\u003c/a>, a playboy-turned-conservative, is also a fan. He recommended Pakistanis watch the show to connect to their Muslim roots.\u003c/p>\n\u003cp>The show isn’t without its critics. In an op-ed for \u003cem>Dawn\u003c/em>, liberal writer \u003ca href=\"https://www.dawn.com/news/1561638\" target=\"_blank\" rel=\"noopener noreferrer\">Pervez Hoodbhoy\u003c/a>, described it as “frankly propagandistic” and said the violence inflicted by the Muslim heroes “suggests the way forward is through the sword.”\u003c/p>\n\u003cp>\u003cem>Diaa Hadid is NPR’s international correspondent in Islamabad. \u003c/em>\u003c/p>\n\u003ch3>South Africa: Kidnapped at Birth, Found 17 Years Later\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2m0Cm2kMOBU'\n title='//www.youtube.com/embed/2m0Cm2kMOBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When a newborn named Zephany Nurse was kidnapped from beside her mother’s bed in a Cape Town hospital in 1997, the case gripped South Africa. And then the trail went cold. That is, until 17 years later, when the Nurses’ younger daughter spotted a girl who bore an uncanny resemblance to her at her new high school, and a DNA test proved they were sisters.\u003c/p>\n\u003cp>Zephany Nurse’s stranger-than-fiction story is now the basis of a popular South African Netflix series, \u003cem>Blood & Water\u003c/em>. The series turns up the glamor on the Nurses’ story by giving it the Gossip Girl treatment, with the fictional retelling set against the backdrop of an ivy-covered Cape Town prep school whose students come home to waterfront mansions and spend their weekends drinking cocktails at beachside hotels.\u003c/p>\n\u003cp>For South Africans, the show is an escapist fantasy, but for a country used to wincing through Western retellings of their stories (think Morgan Freeman’s strangely American-accented Nelson Mandela in \u003cem>Invictus)\u003c/em> it’s also a reversal of roles. “I’ve seen a lot of excitement… in the States, to see young Black kids be represented,” \u003ca href=\"https://www.elle.com/culture/movies-tv/a32647424/ama-qamata-blood-and-water-netflix/\" target=\"_blank\" rel=\"noopener noreferrer\">Ama Qamata, the show’s lead, told \u003cem>Elle\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Blood & Water\u003c/em>, only the second \u003ca href=\"https://www.netflix.com/title/81044547\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix original series from Africa\u003c/a>, has been streaming globally on the platform since May and was renewed for a second season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ryan Lenora Brown is a reporter based in Johannesburg, South Africa. She writes frequently about women, migration and pop culture. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Global+Guide+To+Binge-worthy+TV+For+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'And the World Went Crazy': How Hollywood Changed After Hiroshima",
"headTitle": "‘And the World Went Crazy’: How Hollywood Changed After Hiroshima | KQED",
"content": "\u003cp>\u003cem>On the Beach, \u003c/em>the 1959 film version of Nevil Shute’s cataclysmic bestseller, kicks into gear with a newscast designed to transport 1950s movie audiences from the nuclear age into a post-nuclear age:\u003c/p>\n\u003cp>“Scientists disagree as to when radiation will reach Australia,” intones the newscaster. “The atomic war has ended. But the prime minister reports no proof of survival of human life anywhere except here.”\u003c/p>\n\u003cp>The film then tags along as the world’s last submarine crew, captained by Gregory Peck, searches the globe for signs of humanity. The ship’s Geiger counter readings are dire even in mid-Pacific.\u003c/p>\n\u003cp>Then, in a scene met by hushed silence from ’50s audiences, the sub surfaces in the San Francisco Bay to discover an unbombed but irradiated ghost town. Nothing moving, no sign of life. It was the first portrait most movie patrons had seen of what the world might look like without them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4482&v=HusewgIe_1k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly after leaving the port, the sub’s crew asks its resident egghead, played by Fred Astaire, how he thinks the war started, and with a faraway look in his eye, he articulates the basic scenario for scores of nuclear thrillers to come:\u003c/p>\n\u003cp>“Somewhere some poor bloke probably looked at a radar screen and thought he saw something, knew that if he hesitated one-thousandth of a second, his own country would be wiped off the map. So he pushed the button and the world went …” Astaire looks helpless as he says the next word, “crazy.”\u003c/p>\n\u003cp>For 1959 audiences, \u003cem>On the Beach\u003c/em> took place in the not-too-distant future: 1964, to be precise. And that year in real life turned out to be a watershed for Cold War nuclear thrillers.\u003c/p>\n\u003cp>An intensifying arms race and the Cuban missile crisis had primed audiences for alarmism, and Tinseltown provided a double whammy: war mongering generals taking over the U.S. nuclear arsenal in \u003cem>Seven Days in May\u003c/em>, and just weeks later, \u003cem>Fail Safe\u003c/em>, which fleshed out Astaire’s accident scenario with frantic calls from Henry Fonda’s White House to a soon-to-be vaporized Kremlin.\u003c/p>\n\u003cp>Also released in 1964 was an acidly comic counterweight to these serious films—the one true classic the genre has produced—Stanley Kubrick’s \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.\u003c/em> Kubrick combined the crazed-general scenario and the mistake scenario, had Peter Sellers play multiple roles so he could embody all sides of the argument, and came up with a satire that could say the unspeakable by disguising it as a joke.\u003c/p>\n\u003cp>By the time Slim Pickens rode his A-bomb to that last roundup in the sky, the audience had laughed at the existential absurdity of a weapon that only lets you win by also killing yourself.\u003c/p>\n\u003cp>The nuclear thriller had reached maturity.\u003c/p>\n\u003cp>Compared with a film like \u003cem>Dr. Strangelove\u003c/em>, the earlier, first films of the nuclear genre look decidedly silly. In 1954, the U.S. government produced a chirpy little civil-defense tutorial called \u003cem>Atomic Attack\u003c/em> in which a family’s quiet suburban life is rudely interrupted when New York City, some 50 miles away, gets vaporized. Featuring a very young Walter Matthau, the film pictures post-nuclear survival as downright inconvenient.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e5JiIjSjo_c\u003c/p>\n\u003cp>Hollywood, meanwhile, had become fascinated by reports that radiation could cause cells to mutate, a notion it took to illogical conclusions in unforgettably cheesy special effects flicks. Huge lizards, spiders and ants began emerging from the deserts near New Mexico’s White Sands nuclear test site, as scientists—who were the real villains, having gotten us into this mess—very slowly put two and two together.[aside postid='arts_13879052']\u003c/p>\n\u003cp>Audiences have always gravitated to these escapist films rather than to serious fare like \u003cem>Fail Safe\u003c/em>, which may be why nuclear proliferation in the real world couldn’t hope to match Hollywood’s version.\u003c/p>\n\u003cp>By the 1970s, it wasn’t just governments that had atomic weapons in movies. Practically everyone Agent 007 met seemed to have enough enriched plutonium to blow up at least a small corner of the globe. Meanwhile, \u003cem>Mad Max\u003c/em> was playing demolition derby in dusty post-nuclear landscapes, and \u003cem>WarGames\u003c/em> had teen hacker Matthew Broderick matching wits with the Pentagon’s doomsday computer.\u003c/p>\n\u003cp>Apart from the \u003cem>Terminator \u003c/em>movies, the whole notion of nuclear annihilation seemed to have receded on the big screen. In the thriller \u003cem>True Lies\u003c/em>, when a mushroom cloud rose above the Florida Keys, it was being used the way fireworks usually are, to underscore a kiss between Arnold Schwarzenegger and Jamie Lee Curtis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3CfQDpoQQD8&\u003c/p>\n\u003cp>Big bangs are what big blockbusters are all about, of course, which has mostly left the real-world implications of nuclear weapons to television.[aside postid='arts_13867080']\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em>, produced by the BBC, served as a wake-up call to British audiences. It depicted a U.S. vs. Soviet Union nuclear battle in which America’s NATO allies amounted to collateral damage.\u003c/p>\n\u003cp>And while the effects were enough to traumatize audiences in Britain, they couldn’t hold a candle to the ones in ABC TV’s $7 million shocker, \u003cem>The Day After\u003c/em>.\u003c/p>\n\u003cp>At a time of heightened East/West tensions, the two-hour show (the last hour presented without commercial interruption) was designed to show the aftermath of an all-out nuclear war. And did it ever.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3468&v=Iyy9n8r16hs\u003c/p>\n\u003cp>I remember the shock of seeing the blast in that telecast, and then the horror, a moment later, of a second blast—a second mushroom cloud rising behind the characters—then a third. It was a possibility no duck-and-cover drill in my youth had ever mentioned.\u003c/p>\n\u003cp>By film’s end, nearly all the characters are dead or dying—an outcome witnessed by 100 million Americans on Sunday, Nov. 20, 1983, at the time the largest audience ever to watch a television film.\u003c/p>\n\u003cp>And the day after \u003cem>The Day After\u003c/em>, there was a new national dialogue about nuclear weapons—one that affected public policy. President Ronald Reagan wrote in his diary of being “greatly depressed” by the film. After signing a nuclear-non-proliferation treaty a few years later, he sent a telegram to the director saying: “Don’t think your movie didn’t have any part of this, because it did.”\u003c/p>\n\u003cp>None of this kept Hollywood from going its own, more escapist way. Going Reagan one better in \u003cem>Superman IV, The Quest for Peace\u003c/em>, Christopher Reeve’s Man of Steel addressed a special session of the U.N. saying that he’s going to do what governments have been unwilling or unable to do: “Rid our planet of all nuclear weapons.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zWQIwJsqXrI\u003c/p>\n\u003cp>He then grabbed thousands of intercontinental ballistic missiles in midair (the unwilling governments having helpfully launched them) and put them in a big skynet (literally a net in the sky, not the \u003cem>Terminator\u003c/em> Skynet) after which he hurled them at the sun.\u003c/p>\n\u003cp>This was, presumably, good for the planet, less good for blockbustering. After all, if you get rid of the world’s atomic weapons, how’s Will Smith going to neutralize the alien invaders in \u003cem>Independence Day\u003c/em>? And in \u003cem>Armageddon\u003c/em>, the good guys needed weapons of mass destruction for the destruction-of-a-cosmic-mass (an asteroid on a collision course with Earth).\u003c/p>\n\u003cp>Not to mention that superhero flicks would have to look elsewhere for big finishes—no \u003cem>Dark Knight Rising\u003c/em> with A-bomb in tow, to spirit it to sea and save Gotham. No Iron Man slamming a sky-portal shut with a nuke in \u003cem>The Avengers\u003c/em>. No \u003cem>Wolverine\u003c/em> (working, as always, on a more intimate scale) saving a single Japanese soldier at Nagasaki from the blast only he knew was on the way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YERtfFpLIsU\u003c/p>\n\u003cp>All of those plots are admittedly pretty silly and, again, not responsive to our own era’s heightened world tensions.\u003c/p>\n\u003cp>Still, if Hollywood isn’t making new nuclear films, some harrowing old ones have recently surfaced—declassified just as they were turning to dust. They’re footage shot by military researchers of nuclear tests conducted between 1945 and 1962.\u003c/p>\n\u003cp>More than 100 are \u003ca href=\"https://www.youtube.com/playlist?list=PLvGO_dWo8VfcmG166wKRy5z-GlJ_OQND5\" target=\"_blank\" rel=\"noopener noreferrer\">available for viewing on YouTube\u003c/a> from the Lawrence Livermore National Laboratory, which is analyzing them with computers and discovering that the readings made by scientists decades ago—readings on which computer simulations of current weaponry are based—are off by as much as 30 percent.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, their mushroom clouds are breathtaking, the power they document unfathomable. And when you realize the point of digitizing them is to help modernize nuclear stockpiles, their power as cinema is … well, I’m not sure there’s a word for that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27And+The+World+Went+Crazy%27%3A+How+Hollywood+Changed+After+Hiroshima&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>On the Beach, \u003c/em>the 1959 film version of Nevil Shute’s cataclysmic bestseller, kicks into gear with a newscast designed to transport 1950s movie audiences from the nuclear age into a post-nuclear age:\u003c/p>\n\u003cp>“Scientists disagree as to when radiation will reach Australia,” intones the newscaster. “The atomic war has ended. But the prime minister reports no proof of survival of human life anywhere except here.”\u003c/p>\n\u003cp>The film then tags along as the world’s last submarine crew, captained by Gregory Peck, searches the globe for signs of humanity. The ship’s Geiger counter readings are dire even in mid-Pacific.\u003c/p>\n\u003cp>Then, in a scene met by hushed silence from ’50s audiences, the sub surfaces in the San Francisco Bay to discover an unbombed but irradiated ghost town. Nothing moving, no sign of life. It was the first portrait most movie patrons had seen of what the world might look like without them.\u003c/p>\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/HusewgIe_1k'\n title='//www.youtube.com/embed/HusewgIe_1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly after leaving the port, the sub’s crew asks its resident egghead, played by Fred Astaire, how he thinks the war started, and with a faraway look in his eye, he articulates the basic scenario for scores of nuclear thrillers to come:\u003c/p>\n\u003cp>“Somewhere some poor bloke probably looked at a radar screen and thought he saw something, knew that if he hesitated one-thousandth of a second, his own country would be wiped off the map. So he pushed the button and the world went …” Astaire looks helpless as he says the next word, “crazy.”\u003c/p>\n\u003cp>For 1959 audiences, \u003cem>On the Beach\u003c/em> took place in the not-too-distant future: 1964, to be precise. And that year in real life turned out to be a watershed for Cold War nuclear thrillers.\u003c/p>\n\u003cp>An intensifying arms race and the Cuban missile crisis had primed audiences for alarmism, and Tinseltown provided a double whammy: war mongering generals taking over the U.S. nuclear arsenal in \u003cem>Seven Days in May\u003c/em>, and just weeks later, \u003cem>Fail Safe\u003c/em>, which fleshed out Astaire’s accident scenario with frantic calls from Henry Fonda’s White House to a soon-to-be vaporized Kremlin.\u003c/p>\n\u003cp>Also released in 1964 was an acidly comic counterweight to these serious films—the one true classic the genre has produced—Stanley Kubrick’s \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.\u003c/em> Kubrick combined the crazed-general scenario and the mistake scenario, had Peter Sellers play multiple roles so he could embody all sides of the argument, and came up with a satire that could say the unspeakable by disguising it as a joke.\u003c/p>\n\u003cp>By the time Slim Pickens rode his A-bomb to that last roundup in the sky, the audience had laughed at the existential absurdity of a weapon that only lets you win by also killing yourself.\u003c/p>\n\u003cp>The nuclear thriller had reached maturity.\u003c/p>\n\u003cp>Compared with a film like \u003cem>Dr. Strangelove\u003c/em>, the earlier, first films of the nuclear genre look decidedly silly. In 1954, the U.S. government produced a chirpy little civil-defense tutorial called \u003cem>Atomic Attack\u003c/em> in which a family’s quiet suburban life is rudely interrupted when New York City, some 50 miles away, gets vaporized. Featuring a very young Walter Matthau, the film pictures post-nuclear survival as downright inconvenient.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e5JiIjSjo_c'\n title='//www.youtube.com/embed/e5JiIjSjo_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollywood, meanwhile, had become fascinated by reports that radiation could cause cells to mutate, a notion it took to illogical conclusions in unforgettably cheesy special effects flicks. Huge lizards, spiders and ants began emerging from the deserts near New Mexico’s White Sands nuclear test site, as scientists—who were the real villains, having gotten us into this mess—very slowly put two and two together.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audiences have always gravitated to these escapist films rather than to serious fare like \u003cem>Fail Safe\u003c/em>, which may be why nuclear proliferation in the real world couldn’t hope to match Hollywood’s version.\u003c/p>\n\u003cp>By the 1970s, it wasn’t just governments that had atomic weapons in movies. Practically everyone Agent 007 met seemed to have enough enriched plutonium to blow up at least a small corner of the globe. Meanwhile, \u003cem>Mad Max\u003c/em> was playing demolition derby in dusty post-nuclear landscapes, and \u003cem>WarGames\u003c/em> had teen hacker Matthew Broderick matching wits with the Pentagon’s doomsday computer.\u003c/p>\n\u003cp>Apart from the \u003cem>Terminator \u003c/em>movies, the whole notion of nuclear annihilation seemed to have receded on the big screen. In the thriller \u003cem>True Lies\u003c/em>, when a mushroom cloud rose above the Florida Keys, it was being used the way fireworks usually are, to underscore a kiss between Arnold Schwarzenegger and Jamie Lee Curtis.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3CfQDpoQQD8'\n title='//www.youtube.com/embed/3CfQDpoQQD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Big bangs are what big blockbusters are all about, of course, which has mostly left the real-world implications of nuclear weapons to television.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em>, produced by the BBC, served as a wake-up call to British audiences. It depicted a U.S. vs. Soviet Union nuclear battle in which America’s NATO allies amounted to collateral damage.\u003c/p>\n\u003cp>And while the effects were enough to traumatize audiences in Britain, they couldn’t hold a candle to the ones in ABC TV’s $7 million shocker, \u003cem>The Day After\u003c/em>.\u003c/p>\n\u003cp>At a time of heightened East/West tensions, the two-hour show (the last hour presented without commercial interruption) was designed to show the aftermath of an all-out nuclear war. And did it ever.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Iyy9n8r16hs'\n title='//www.youtube.com/embed/Iyy9n8r16hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I remember the shock of seeing the blast in that telecast, and then the horror, a moment later, of a second blast—a second mushroom cloud rising behind the characters—then a third. It was a possibility no duck-and-cover drill in my youth had ever mentioned.\u003c/p>\n\u003cp>By film’s end, nearly all the characters are dead or dying—an outcome witnessed by 100 million Americans on Sunday, Nov. 20, 1983, at the time the largest audience ever to watch a television film.\u003c/p>\n\u003cp>And the day after \u003cem>The Day After\u003c/em>, there was a new national dialogue about nuclear weapons—one that affected public policy. President Ronald Reagan wrote in his diary of being “greatly depressed” by the film. After signing a nuclear-non-proliferation treaty a few years later, he sent a telegram to the director saying: “Don’t think your movie didn’t have any part of this, because it did.”\u003c/p>\n\u003cp>None of this kept Hollywood from going its own, more escapist way. Going Reagan one better in \u003cem>Superman IV, The Quest for Peace\u003c/em>, Christopher Reeve’s Man of Steel addressed a special session of the U.N. saying that he’s going to do what governments have been unwilling or unable to do: “Rid our planet of all nuclear weapons.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zWQIwJsqXrI'\n title='//www.youtube.com/embed/zWQIwJsqXrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He then grabbed thousands of intercontinental ballistic missiles in midair (the unwilling governments having helpfully launched them) and put them in a big skynet (literally a net in the sky, not the \u003cem>Terminator\u003c/em> Skynet) after which he hurled them at the sun.\u003c/p>\n\u003cp>This was, presumably, good for the planet, less good for blockbustering. After all, if you get rid of the world’s atomic weapons, how’s Will Smith going to neutralize the alien invaders in \u003cem>Independence Day\u003c/em>? And in \u003cem>Armageddon\u003c/em>, the good guys needed weapons of mass destruction for the destruction-of-a-cosmic-mass (an asteroid on a collision course with Earth).\u003c/p>\n\u003cp>Not to mention that superhero flicks would have to look elsewhere for big finishes—no \u003cem>Dark Knight Rising\u003c/em> with A-bomb in tow, to spirit it to sea and save Gotham. No Iron Man slamming a sky-portal shut with a nuke in \u003cem>The Avengers\u003c/em>. No \u003cem>Wolverine\u003c/em> (working, as always, on a more intimate scale) saving a single Japanese soldier at Nagasaki from the blast only he knew was on the way.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YERtfFpLIsU'\n title='//www.youtube.com/embed/YERtfFpLIsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of those plots are admittedly pretty silly and, again, not responsive to our own era’s heightened world tensions.\u003c/p>\n\u003cp>Still, if Hollywood isn’t making new nuclear films, some harrowing old ones have recently surfaced—declassified just as they were turning to dust. They’re footage shot by military researchers of nuclear tests conducted between 1945 and 1962.\u003c/p>\n\u003cp>More than 100 are \u003ca href=\"https://www.youtube.com/playlist?list=PLvGO_dWo8VfcmG166wKRy5z-GlJ_OQND5\" target=\"_blank\" rel=\"noopener noreferrer\">available for viewing on YouTube\u003c/a> from the Lawrence Livermore National Laboratory, which is analyzing them with computers and discovering that the readings made by scientists decades ago—readings on which computer simulations of current weaponry are based—are off by as much as 30 percent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, their mushroom clouds are breathtaking, the power they document unfathomable. And when you realize the point of digitizing them is to help modernize nuclear stockpiles, their power as cinema is … well, I’m not sure there’s a word for that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27And+The+World+Went+Crazy%27%3A+How+Hollywood+Changed+After+Hiroshima&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re one of the thousands of humans across America who have taken on a pet during shelter in place, adjusting to living with your new animal friend doesn’t involve a very steep learning curve. Animals are awesome, and shelters tend to explain basics to you before you leave with a new foster or adoption. [aside postid='arts_13876876']\u003c/p>\n\u003cp>In 1990, however, it was apparently left up to Rue McClanahan—then at the peak of her fame playing \u003ca href=\"https://www.youtube.com/watch?v=ItSHd6-6r5M\" target=\"_blank\" rel=\"noopener noreferrer\">Blanche Devereaux\u003c/a> in \u003cem>The Golden Girls—\u003c/em>to make instructional VHS presentations about how to take care of cats and dogs.\u003c/p>\n\u003cp>In both \u003cem>The Dog Care Video Guide \u003c/em>and \u003cem>The Cat Care Video Guide\u003c/em>, McClanahan—whose Blanche was a refreshingly sex-positive TV icon for older women—is accompanied by a British veterinarian named Dr. David Griffiths. And, let me tell you, the sexual tension between these two is \u003cem>electric\u003c/em>. Just look at this supercut from \u003cem>The Dog Care Video Guide:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVPafMq_ces\u003c/p>\n\u003cp>These two immediately get down to business in \u003cem>The Cat Care Video Guide \u003c/em>as well. McClanahan promises to explore “the mysterious inner workings of the feline mind,” while Dr. Griffiths purrs, “I’d be happy to have my brain picked by such an enchanting woman.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McClanahan goes on to smile her way through a cat attack, a room filled with running and hissing felines, and Dr. Griffiths’ stern warnings about predators. “Owls,” he says at one point, “have been known to carry a cat off.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yKj3javUPL4\u003c/p>\n\u003cp>Together, the two run through important decisions regarding your new pet: how to pick the animal that’s right for you, the importance of spaying and neutering, and how to give medication. Truly, it’s all a soothing reminder of a simpler time. (Also, it’s really funny—at one point during a discussion about the best kinds of bowls to buy, when McClanahan suggests picking up something “with a wide, flat bottom,” Dr. Griffiths has to stop himself from laughing.)\u003c/p>\n\u003cp>You can find much of McClanahan’s cat and dog care videos \u003ca href=\"https://www.youtube.com/results?search_query=rue+mclanahan+care\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. But here’s a taster that juxtaposes a montage of senior citizens petting kittens with even \u003cem>more\u003c/em> flirting:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WSnUQOsLvq8\u003c/p>\n\n",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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