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"content": "\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_2KMm49B6pE\u003c/p>\n\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\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/_2KMm49B6pE'\n title='//www.youtube.com/embed/_2KMm49B6pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Epstein Confidante Ghislaine Maxwell is Unlike Any Enabler We've Seen Before",
"headTitle": "Epstein Confidante Ghislaine Maxwell is Unlike Any Enabler We’ve Seen Before | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, 20 police officers and FBI agents raided a lavish home in Bedford, New Hampshire and emerged with Ghislaine Maxwell in handcuffs. Maxwell, a close associate, confidante and—many say—co-conspirator of Jeffrey Epstein, now faces six counts related to the sex trafficking of minors, very similar to the ones that Epstein didn’t live long enough to face in court.\u003c/p>\n\u003cp>\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>Epstein’s accusers have long claimed that Maxwell recruited, groomed and exploited them; that he couldn’t have done what he did without her assistance. Federal prosecutors charge that Maxwell even took part in some of the sexual abuse directly. But the 58-year-old Brit has been evading authorities so flagrantly and for so long that, last year, the \u003cem>Sun\u003c/em> newspaper resorted to offering a \u003ca href=\"https://www.the-sun.com/news/74018/the-sun-is-offering-a-10000-reward-for-information-on-jeffrey-epstein-pal-ghislaine-maxwell/\" target=\"_blank\" rel=\"noopener noreferrer\">£10,000 reward\u003c/a> for information leading to her location.\u003c/p>\n\u003cp>Following 2017’s #MeToo reckoning, the world became all too familiar with the ways that enablers can assist and protect prominent sexual predators. But of all of the enablers that have emerged in the last few years, Maxwell is arguably the most notorious. That’s partly because she’s a woman alleged to have facilitated the abuse of others. And it’s partly because of the degree and depth of her involvement with Epstein (“She had served him for years, maintaining his homes, ranch, and private island,”\u003ca href=\"https://www.vanityfair.com/style/2020/07/inside-ghislaine-maxwells-life-on-the-lam\" target=\"_blank\" rel=\"noopener noreferrer\"> reports \u003c/a>\u003cem>Vanity Fair\u003c/em>).\u003c/p>\n\u003cp>But it’s also partly because the allegations against her represent a new, monstrous degree of enabling we’ve not quite seen before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hat we’re accustomed to hearing about enablers is that their work is done incrementally; little by little; one blind eye at a time. And it usually takes a whole team of them. Bill Cosby had attorneys—\u003ca href=\"https://www.buzzfeednews.com/article/kateaurthur/bill-cosby-is-in-disgrace\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Singer\u003c/a> brokered deals to get accusations scrubbed from the press. He had agents—\u003ca href=\"https://www.vocativ.com/208960/bill-cosbys-circle/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Illus\u003c/a> distributed money to multiple women, without ever asking what it was for. He had writers—Mark Whitaker’s in-depth biography, \u003cem>Cosby: His Life and Times\u003c/em>, failed to mention any accusations against the actor, despite them being well-known at the time. He had a PR team that attempted to suppress \u003ca href=\"https://www.youtube.com/watch?v=8HUPK34aiXE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>that\u003c/em> viral comedy routine\u003c/a> by Hannibal Buress. And he definitely had doctors, as evidenced by his seven prescriptions for quaaludes.\u003c/p>\n\u003cp>Harvey Weinstein had a similar deputized army of defense. In 2017, \u003ca href=\"https://www.theguardian.com/world/2020/feb/25/harvey-weinstein-trial-helpers-enablers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em> listed\u003c/a> as Weinstein enablers everyone from “lowly limousine drivers,” on up through the lawyers who drew up NDAs to silence accusers, and all the way to New York District Attorney Cyrus Vance—who opted not to prosecute Weinstein despite strong evidence against him. Weinstein’s brother and business partner, Bob, is widely presumed to have been complicit in the abusive behavior. Then there’s David Boies, the lawyer who tried to stop the \u003cem>New York Times\u003c/em> from exposing Weinstein in the first place. (In a strange twist, Boies is now representing several women in the process of suing Ghislaine Maxwell.)[aside postid='pop_112955']\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.newyorker.com/news/news-desk/harvey-weinsteins-former-employees-reckon-with-what-they-knew-and-what-they-didnt\" target=\"_blank\" rel=\"noopener noreferrer\">many of Weistein’s assistants\u003c/a>, enablers often claim they simply didn’t realize the seriousness of what was happening at the time. Some are swept up in friendship—Louis CK’s predilection for masturbating in front of unsuspecting women is said to have been \u003ca href=\"https://www.thedailybeast.com/louis-cks-powerful-army-of-celebrity-enablers\" target=\"_blank\" rel=\"noopener noreferrer\">an open secret\u003c/a> in comedy circles for years. And for many of his pals, including \u003ca href=\"https://variety.com/2018/tv/news/sarah-silverman-louis-ck-masturbated-1202988208/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Silverman\u003c/a>, it just didn’t seem like that big a deal. \u003c/p>\n\u003cp>Some enablers may assume that in celebrity circles, predatory behavior is simply the norm. Photographer Terry Richardson is said to have had \u003ca href=\"https://www.marieclaire.com.au/terry-richardson-every-sexual-harassment-and-assault-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">assistants\u003c/a> that laughed along and took photos while he was behaving inappropriately during shoots. Some, it’s been alleged, even provided towels to clean up after on-set sex acts had taken place.\u003c/p>\n\u003cp>When entities enable, it’s usually related to how profitable the offender is to them. \u003ca href=\"https://en.wikipedia.org/wiki/Bill_O%27Reilly_(political_commentator)\" target=\"_blank\" rel=\"noopener noreferrer\">Fox News assisted Bill O’Reilly\u003c/a> in quietly settling five sexual harassment lawsuits totaling $13 million. Not only did NBC know about the \u003ca href=\"https://www.washingtonpost.com/blogs/erik-wemple/wp/2018/05/11/just-how-did-matt-lauers-famous-desk-button-work/\" target=\"_blank\" rel=\"noopener noreferrer\">button under Matt Lauer’s desk\u003c/a>, those door closing mechanisms were “a commonly available feature in executive offices in multiple NBCUniversal facilities.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or Ghislaine Maxwell, her motivations appear to be comprised of all three. She was emotionally invested in Epstein as a sometime-girlfriend. Her ability to live luxuriously was greatly facilitated by helping him. And she had grown up doting on her father, \u003ca href=\"https://www.theguardian.com/business/2018/sep/09/robert-maxwells-sons-say-tycoon-was-to-meet-boe-the-day-he-died\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Maxwell\u003c/a>—one of the most morally bankrupt tycoons in modern British history. It’s possible that she thought all wealthy people just did whatever the hell they wanted. [aside postid='arts_13876352']\u003c/p>\n\u003cp>One of the stranger aspects of Maxwell and Epstein’s relationship is in the power dynamic. Many prominent predators get people around them to toe the line by reminding everyone how powerful they are, how much there is to lose by holding them accountable, and how much there is to gain from turning a blind eye. But Ghislaine Maxwell, a worldly socialite, was in many ways the reason Epstein was able to make so many prestigious contacts in the first place.\u003c/p>\n\u003cp>In the “Lady Ghislaine” episode of the \u003ca href=\"https://podcasts.apple.com/us/podcast/broken-jeffrey-epstein/id1478460758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Broken: Jeffrey Epstein\u003c/em>\u003c/a> podcast, host Ariel Levy notes that Maxwell “was the one who connected this college dropout from Brooklyn to what would otherwise have been the impenetrable echelon of American presidents, British royalty and world-famous scientists.”\u003c/p>\n\u003cp>Epstein had the money, but Maxwell had the connections. For a while, at least, they benefited from each other. Maxwell not only facilitated Epstein’s rise, but she helped to keep him there, by any means necessary. Whether it was for power, money or love, we’ll probably never know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One thing of which we \u003cem>can\u003c/em> be certain is that there has never been an enabler like Ghislaine Maxwell before. The criminal charges against her reflect that. (Even Bob Weinstein \u003ca href=\"https://www.nytimes.com/2019/10/12/business/media/bob-weinstein-production-company.html\" target=\"_blank\" rel=\"noopener noreferrer\">still has a career\u003c/a>.) Perhaps bringing her to justice will be a step forward in making up for all the other ones that got away. And that includes Jeffrey Epstein.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, 20 police officers and FBI agents raided a lavish home in Bedford, New Hampshire and emerged with Ghislaine Maxwell in handcuffs. Maxwell, a close associate, confidante and—many say—co-conspirator of Jeffrey Epstein, now faces six counts related to the sex trafficking of minors, very similar to the ones that Epstein didn’t live long enough to face in court.\u003c/p>\n\u003cp>\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>Epstein’s accusers have long claimed that Maxwell recruited, groomed and exploited them; that he couldn’t have done what he did without her assistance. Federal prosecutors charge that Maxwell even took part in some of the sexual abuse directly. But the 58-year-old Brit has been evading authorities so flagrantly and for so long that, last year, the \u003cem>Sun\u003c/em> newspaper resorted to offering a \u003ca href=\"https://www.the-sun.com/news/74018/the-sun-is-offering-a-10000-reward-for-information-on-jeffrey-epstein-pal-ghislaine-maxwell/\" target=\"_blank\" rel=\"noopener noreferrer\">£10,000 reward\u003c/a> for information leading to her location.\u003c/p>\n\u003cp>Following 2017’s #MeToo reckoning, the world became all too familiar with the ways that enablers can assist and protect prominent sexual predators. But of all of the enablers that have emerged in the last few years, Maxwell is arguably the most notorious. That’s partly because she’s a woman alleged to have facilitated the abuse of others. And it’s partly because of the degree and depth of her involvement with Epstein (“She had served him for years, maintaining his homes, ranch, and private island,”\u003ca href=\"https://www.vanityfair.com/style/2020/07/inside-ghislaine-maxwells-life-on-the-lam\" target=\"_blank\" rel=\"noopener noreferrer\"> reports \u003c/a>\u003cem>Vanity Fair\u003c/em>).\u003c/p>\n\u003cp>But it’s also partly because the allegations against her represent a new, monstrous degree of enabling we’ve not quite seen before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hat we’re accustomed to hearing about enablers is that their work is done incrementally; little by little; one blind eye at a time. And it usually takes a whole team of them. Bill Cosby had attorneys—\u003ca href=\"https://www.buzzfeednews.com/article/kateaurthur/bill-cosby-is-in-disgrace\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Singer\u003c/a> brokered deals to get accusations scrubbed from the press. He had agents—\u003ca href=\"https://www.vocativ.com/208960/bill-cosbys-circle/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Illus\u003c/a> distributed money to multiple women, without ever asking what it was for. He had writers—Mark Whitaker’s in-depth biography, \u003cem>Cosby: His Life and Times\u003c/em>, failed to mention any accusations against the actor, despite them being well-known at the time. He had a PR team that attempted to suppress \u003ca href=\"https://www.youtube.com/watch?v=8HUPK34aiXE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>that\u003c/em> viral comedy routine\u003c/a> by Hannibal Buress. And he definitely had doctors, as evidenced by his seven prescriptions for quaaludes.\u003c/p>\n\u003cp>Harvey Weinstein had a similar deputized army of defense. In 2017, \u003ca href=\"https://www.theguardian.com/world/2020/feb/25/harvey-weinstein-trial-helpers-enablers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em> listed\u003c/a> as Weinstein enablers everyone from “lowly limousine drivers,” on up through the lawyers who drew up NDAs to silence accusers, and all the way to New York District Attorney Cyrus Vance—who opted not to prosecute Weinstein despite strong evidence against him. Weinstein’s brother and business partner, Bob, is widely presumed to have been complicit in the abusive behavior. Then there’s David Boies, the lawyer who tried to stop the \u003cem>New York Times\u003c/em> from exposing Weinstein in the first place. (In a strange twist, Boies is now representing several women in the process of suing Ghislaine Maxwell.)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.newyorker.com/news/news-desk/harvey-weinsteins-former-employees-reckon-with-what-they-knew-and-what-they-didnt\" target=\"_blank\" rel=\"noopener noreferrer\">many of Weistein’s assistants\u003c/a>, enablers often claim they simply didn’t realize the seriousness of what was happening at the time. Some are swept up in friendship—Louis CK’s predilection for masturbating in front of unsuspecting women is said to have been \u003ca href=\"https://www.thedailybeast.com/louis-cks-powerful-army-of-celebrity-enablers\" target=\"_blank\" rel=\"noopener noreferrer\">an open secret\u003c/a> in comedy circles for years. And for many of his pals, including \u003ca href=\"https://variety.com/2018/tv/news/sarah-silverman-louis-ck-masturbated-1202988208/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Silverman\u003c/a>, it just didn’t seem like that big a deal. \u003c/p>\n\u003cp>Some enablers may assume that in celebrity circles, predatory behavior is simply the norm. Photographer Terry Richardson is said to have had \u003ca href=\"https://www.marieclaire.com.au/terry-richardson-every-sexual-harassment-and-assault-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">assistants\u003c/a> that laughed along and took photos while he was behaving inappropriately during shoots. Some, it’s been alleged, even provided towels to clean up after on-set sex acts had taken place.\u003c/p>\n\u003cp>When entities enable, it’s usually related to how profitable the offender is to them. \u003ca href=\"https://en.wikipedia.org/wiki/Bill_O%27Reilly_(political_commentator)\" target=\"_blank\" rel=\"noopener noreferrer\">Fox News assisted Bill O’Reilly\u003c/a> in quietly settling five sexual harassment lawsuits totaling $13 million. Not only did NBC know about the \u003ca href=\"https://www.washingtonpost.com/blogs/erik-wemple/wp/2018/05/11/just-how-did-matt-lauers-famous-desk-button-work/\" target=\"_blank\" rel=\"noopener noreferrer\">button under Matt Lauer’s desk\u003c/a>, those door closing mechanisms were “a commonly available feature in executive offices in multiple NBCUniversal facilities.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or Ghislaine Maxwell, her motivations appear to be comprised of all three. She was emotionally invested in Epstein as a sometime-girlfriend. Her ability to live luxuriously was greatly facilitated by helping him. And she had grown up doting on her father, \u003ca href=\"https://www.theguardian.com/business/2018/sep/09/robert-maxwells-sons-say-tycoon-was-to-meet-boe-the-day-he-died\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Maxwell\u003c/a>—one of the most morally bankrupt tycoons in modern British history. It’s possible that she thought all wealthy people just did whatever the hell they wanted. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the stranger aspects of Maxwell and Epstein’s relationship is in the power dynamic. Many prominent predators get people around them to toe the line by reminding everyone how powerful they are, how much there is to lose by holding them accountable, and how much there is to gain from turning a blind eye. But Ghislaine Maxwell, a worldly socialite, was in many ways the reason Epstein was able to make so many prestigious contacts in the first place.\u003c/p>\n\u003cp>In the “Lady Ghislaine” episode of the \u003ca href=\"https://podcasts.apple.com/us/podcast/broken-jeffrey-epstein/id1478460758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Broken: Jeffrey Epstein\u003c/em>\u003c/a> podcast, host Ariel Levy notes that Maxwell “was the one who connected this college dropout from Brooklyn to what would otherwise have been the impenetrable echelon of American presidents, British royalty and world-famous scientists.”\u003c/p>\n\u003cp>Epstein had the money, but Maxwell had the connections. For a while, at least, they benefited from each other. Maxwell not only facilitated Epstein’s rise, but she helped to keep him there, by any means necessary. Whether it was for power, money or love, we’ll probably never know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One thing of which we \u003cem>can\u003c/em> be certain is that there has never been an enabler like Ghislaine Maxwell before. The criminal charges against her reflect that. (Even Bob Weinstein \u003ca href=\"https://www.nytimes.com/2019/10/12/business/media/bob-weinstein-production-company.html\" target=\"_blank\" rel=\"noopener noreferrer\">still has a career\u003c/a>.) Perhaps bringing her to justice will be a step forward in making up for all the other ones that got away. And that includes Jeffrey Epstein.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This morning, during an otherwise jovial appearance on \u003cem>The Today Show\u003c/em>, Tom Hanks went full “America’s Dad” on COVID-19 deniers. He wasn’t angry, exactly—just very, very disappointed. “There’s no law against ignorance,” Hanks said. “It’s not illegal to have opinions that are wrong. But I think you flout a number of realities when two and two don’t add up to four.”\u003c/p>\n\u003cp>After briefly discussing the daily slog he and his wife Rita endured while \u003ca href=\"https://www.kqed.org/arts/13876500/tom-hanks-wife-rita-wilson-test-positive-for-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">battling coronavirus\u003c/a> back in March, Hanks drew a comparison between social responsibility during World War II and what we see happening now, during the pandemic.\u003c/p>\n\u003cp>“There was a sensibility that permeated all of society [in the war], which was ‘Do your part. We’re all in this together,'” he said. “And doing your part meant there was a tiny amount of stuff you could do to aid the ongoing status of an effort that had no sign of its conclusion. World War II went on for an awfully long time—a big portion of everyone’s lives. They didn’t know when it was going to come to an end and we don’t know what’s going to happen with COVID-19. The idea of doing one’s part, though, should be so simple.”\u003c/p>\n\u003cp>Hanks went on: “Wear a mask, social distance, wash your hands. That alone means you are contributing to the betterment of your house, your work, your town, your society as a whole and it’s such a small thing. It’s a mystery to me how somehow that has been wiped out of what should be ingrained in the behavior of us all. Simple things! Do your part!”\u003c/p>\n\u003cp>Then Hanks employed the most American tool at anyone’s disposal in a time of crisis: Bruce Springsteen lyrics. “There is a darkness of the edge of town here, folks,” he said, referencing the 1978 song and album. “Let’s not confuse the fact—it’s killing people… You can say ‘Well, traffic accidents kill a lot of people too.’ Yeah, and traffic accidents happen because a lot of people aren’t doing their part.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 14-minute segment also includes friendly banter with Hoda Kotb and promotion for Hanks’ new World War II epic, \u003cem>Greyhound. \u003c/em>You can watch the interview in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bzGYqX81Wu8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This morning, during an otherwise jovial appearance on \u003cem>The Today Show\u003c/em>, Tom Hanks went full “America’s Dad” on COVID-19 deniers. He wasn’t angry, exactly—just very, very disappointed. “There’s no law against ignorance,” Hanks said. “It’s not illegal to have opinions that are wrong. But I think you flout a number of realities when two and two don’t add up to four.”\u003c/p>\n\u003cp>After briefly discussing the daily slog he and his wife Rita endured while \u003ca href=\"https://www.kqed.org/arts/13876500/tom-hanks-wife-rita-wilson-test-positive-for-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">battling coronavirus\u003c/a> back in March, Hanks drew a comparison between social responsibility during World War II and what we see happening now, during the pandemic.\u003c/p>\n\u003cp>“There was a sensibility that permeated all of society [in the war], which was ‘Do your part. We’re all in this together,'” he said. “And doing your part meant there was a tiny amount of stuff you could do to aid the ongoing status of an effort that had no sign of its conclusion. World War II went on for an awfully long time—a big portion of everyone’s lives. They didn’t know when it was going to come to an end and we don’t know what’s going to happen with COVID-19. The idea of doing one’s part, though, should be so simple.”\u003c/p>\n\u003cp>Hanks went on: “Wear a mask, social distance, wash your hands. That alone means you are contributing to the betterment of your house, your work, your town, your society as a whole and it’s such a small thing. It’s a mystery to me how somehow that has been wiped out of what should be ingrained in the behavior of us all. Simple things! Do your part!”\u003c/p>\n\u003cp>Then Hanks employed the most American tool at anyone’s disposal in a time of crisis: Bruce Springsteen lyrics. “There is a darkness of the edge of town here, folks,” he said, referencing the 1978 song and album. “Let’s not confuse the fact—it’s killing people… You can say ‘Well, traffic accidents kill a lot of people too.’ Yeah, and traffic accidents happen because a lot of people aren’t doing their part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Julian Bass loves Spider-Man, a trait you can easily glean by scrolling through the videos he posts to his TikTok and Twitter accounts.\u003c/p>\n\u003cp>“I just think Spider-Man is so fun. It’s so inspiring to me,” Bass told NPR’s \u003cem>Weekend Edition\u003c/em>. “Everything, every little aspect that you could possibly think of about Spider-Man is something that I’m aware of, that I know of.”\u003c/p>\n\u003cp>In one now-viral video, the 20-year-old theater major at Georgia State University morphs into his favorite heroes using his own special-effects—first a Jedi wielding a blue lightsaber, then Ben 10, before his final transition into Spider-Man. He asked his followers to retweet the video “enough times that Disney calls.” Twenty million views later, \u003ca href=\"https://twitter.com/RobertIger/status/1278869218889367552\" target=\"_blank\" rel=\"noopener noreferrer\">Disney \u003c/a>wasn’t the only one he heard from.\u003c/p>\n\u003cp>https://twitter.com/thejulianbass/status/1278714517770440707\u003c/p>\n\u003cp>At first, he said his video gained “some small traction with my immediate circle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\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+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\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+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "We All Know a ‘Karen’ When We See One—Now We Need to Talk About ‘Kevin’",
"headTitle": "We All Know a ‘Karen’ When We See One—Now We Need to Talk About ‘Kevin’ | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, a Mexican American man named Michael Barajas was blocked from entering his own parking garage in San Francisco’s SOMA neighborhood by a couple in an SUV. The SUV driver, William Beasley, was \u003ca href=\"https://twitter.com/RichmondLyfe/status/1275829921969930240\" target=\"_blank\" rel=\"noopener noreferrer\">caught on camera\u003c/a> repeatedly getting out of his vehicle to threaten Barajas. When he told Barajas he was calling the police, Barajas responded: “That’s fine, call the cops! What are you calling the cops about, Karen?”\u003c/p>\n\u003cp>\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\">The exchange was, most of all, a jarring illustration that racism is alive and kicking in San Francisco. But it also served to illustrate that we as a nation have been so laser-focused on Karens behaving badly, we forgot to even give a name to the men who conduct themselves just as atrociously.\u003c/p>\n\u003cp>The hashtag \u003ca href=\"https://twitter.com/hashtag/KarensGoneWild?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#KarensGoneWild\u003c/a> is a large section of Twitter dedicated to women who racially profile others, refuse to wear masks in stores, and generally behave with an inflamed sense of self-entitlement. Clips of men doing the same thing aren’t hard to find, but they often fail to garner the same degree of attention.\u003c/p>\n\u003cp>Last week, 57-year-old \u003ca href=\"https://www.nbcnewyork.com/news/local/video-of-white-man-calling-police-on-black-men-at-stamford-marina-sparks-outrage/2488405/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Dudek called the cops\u003c/a> on a party of five Black and Latino men and accused them of harassing him. He shouted “White lives matter too!” in the middle of his phone call to 911. In May, a Minneapolis man named \u003ca href=\"https://www.theguardian.com/us-news/2020/may/27/video-minnesota-police-black-entrepreneurs-gym\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Austin called the cops\u003c/a> on a group of younger Black men for using the gym in their shared office building. (He said he didn’t think they looked like they belonged there.) And a few weeks ago, a man was \u003ca href=\"https://twitter.com/MadMaxDante/status/1275877394943967237\" target=\"_blank\" rel=\"noopener noreferrer\">caught on camera\u003c/a> calling a Black man “boy” and telling him to “fetch me some water.” Despite no women being featured in the video, the clip was hashtagged “#Karens” and “#KarensGoneWild” on Twitter.\u003c/p>\n\u003cp>Some corners of the internet have been actively trying to fill the Karen-adjacent void. In its reporting of the Beasley-Barajas altercation, \u003ca href=\"https://sfist.com/2020/06/27/sf-ken-filmed-blocking-latino-man-from-entering-his-own-apartment-complex/\" target=\"_blank\" rel=\"noopener noreferrer\">SFist\u003c/a> referred to Beasley as a “Ken”—a term that has also previously been used by the \u003ca href=\"https://www.fatherly.com/love-money/male-version-of-karen-meme/\" target=\"_blank\" rel=\"noopener noreferrer\">Fatherly\u003c/a> website. \u003ca href=\"https://www.quora.com/What-is-the-male-equivalent-of-a-Karen-called-You-know-the-guy-who-always-wants-to-speak-to-the-manager-because-hes-entitled-to-better-services-or-upgrades\" target=\"_blank\" rel=\"noopener noreferrer\">Quora\u003c/a> and \u003ca href=\"https://www.reddit.com/r/AskReddit/comments/an7xsa/who_is_male_equivalent_for_karen/\" target=\"_blank\" rel=\"noopener noreferrer\">Reddit users\u003c/a> are conflicted, with a mixed bag of suggestions including “Thad,” “Donald,” “Frank,” “Greg,” “Todd” and “Kevin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Kevin” has recently emerged as the frontrunner. An Instagram account titled \u003ca href=\"https://www.instagram.com/karenandkevingoingwild/\" target=\"_blank\" rel=\"noopener noreferrer\">KarenAndKevinGoingWild\u003c/a> launched in May and already has upwards of 200,000 followers. “Kevin” got a boost on Twitter last week as well, after Mark and Patricia McCloskey\u003ca href=\"https://twitter.com/ABC/status/1277526031935647744\" target=\"_blank\" rel=\"noopener noreferrer\"> waved guns\u003c/a> in the direction of Black Lives Matter protesters in St. Louis. (The couple made \u003ca href=\"https://www.riverfronttimes.com/newsblog/2020/06/29/couple-who-pointed-guns-at-protesters-release-statement-in-support-of-protesters\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> the following day that they were, in fact, in support of the protest.)\u003c/p>\n\u003cp>https://twitter.com/theodoricofyork/status/1277788707005882368\u003c/p>\n\u003cp>On the back of the McCloskys, #KevinsGoneWild is finally picking up a little steam on Twitter. Posts with the hashtag include two separate \u003ca href=\"https://twitter.com/901Flava/status/1277384025456422915\" target=\"_blank\" rel=\"noopener noreferrer\">clips\u003c/a> of \u003ca href=\"https://twitter.com/AnaBrand214/status/1277017065983897600\" target=\"_blank\" rel=\"noopener noreferrer\">men harassing\u003c/a> peaceful protesters (including some 15-year-old girls), a \u003ca href=\"https://twitter.com/AnaBrand214/status/1277005461317750785\" target=\"_blank\" rel=\"noopener noreferrer\">Lyft passenger\u003c/a> refusing to wear a mask and using racial slurs against a driver, a shirtless white man standing on a street corner \u003ca href=\"https://twitter.com/SpritzzyChick/status/1273980942533767168\" target=\"_blank\" rel=\"noopener noreferrer\">cracking a whip\u003c/a>, and a maskless man \u003ca href=\"https://twitter.com/adrianVenditti/status/1273726389926146048\" target=\"_blank\" rel=\"noopener noreferrer\">harassing\u003c/a> a coffee shop employee over a Black Lives Matter sign.\u003c/p>\n\u003cp>Despite this kind of evidence, there have been suggestions that racially charged harassment—especially that which involves self-righteously calling 911—is an activity specific to women. In early June, Dr. Apryl Williams, an assistant professor at University of Michigan \u003ca href=\"https://www.fatherly.com/love-money/male-version-of-karen-meme/\" target=\"_blank\" rel=\"noopener noreferrer\">told Fatherly\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The reason we don’t see so many of these incidents where white men are calling the police on Black people is due to the gender socialization process where women are conditioned to call out and seek help and men are not. In the case of Ahmaud Arbery, instead of calling the police, these white men decided to take justice into their own hands.\u003c/p>\u003c/blockquote>\n\u003cp>There is ample evidence, however, that physical violence and phone calls to the police are not mutually exclusive. Let’s not forget \u003ca href=\"https://www.documentcloud.org/documents/326700-full-transcript-zimmerman.html\" target=\"_blank\" rel=\"noopener noreferrer\">George Zimmerman called the police\u003c/a> before shooting Trayvon Martin. [aside postid='arts_13881138']\u003c/p>\n\u003cp>Some writers—including \u003ca href=\"https://gen.medium.com/how-the-karen-meme-benefits-the-right-4cff760d6e90\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Burleigh\u003c/a> and \u003ca href=\"https://www.boredpanda.com/julie-bindel-sparks-karen-slur-debate\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Bindel\u003c/a> (who referred to Karen as a “slur” on Twitter)—have argued that the new widespread use of “Karen” is rooted in misogyny. That argument is a bit of a stretch. After all, these women got called out first and foremost because they were caught on camera behaving appallingly—not because they were women.\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> true, however, that America has a tendency to hold women to higher standards than men. We see that in school \u003ca href=\"https://www.edweek.org/ew/articles/2018/09/05/do-school-dress-codes-discrimate-against-girls.html\" target=\"_blank\" rel=\"noopener noreferrer\">dress codes\u003c/a> that target girls more than boys. And in professional environments where women receive \u003ca href=\"https://www.npr.org/2016/06/02/480487259/women-held-to-higher-ethical-standard-than-men-study-shows\" target=\"_blank\" rel=\"noopener noreferrer\">harsher penalties\u003c/a> than men for committing the same infractions. And it’s why there are often \u003ca href=\"https://www.dictionary.com/e/mistress-and-other-words-that-have-no-male-counterpart/\" target=\"_blank\" rel=\"noopener noreferrer\">no male equivalent words\u003c/a> for derogatory terms used against women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Calling out the Karens is an essential part of exposing casual racism that white people might otherwise never witness. And using that handle—while unfortunate for women actually named Karen—brings a levity to hard-to-watch content that makes it more shareable. But as long as America is holding Karen accountable, it’s only right to apply equal pressure to her male counterpart. We need to talk about Kevin just as much.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, a Mexican American man named Michael Barajas was blocked from entering his own parking garage in San Francisco’s SOMA neighborhood by a couple in an SUV. The SUV driver, William Beasley, was \u003ca href=\"https://twitter.com/RichmondLyfe/status/1275829921969930240\" target=\"_blank\" rel=\"noopener noreferrer\">caught on camera\u003c/a> repeatedly getting out of his vehicle to threaten Barajas. When he told Barajas he was calling the police, Barajas responded: “That’s fine, call the cops! What are you calling the cops about, Karen?”\u003c/p>\n\u003cp>\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\">The exchange was, most of all, a jarring illustration that racism is alive and kicking in San Francisco. But it also served to illustrate that we as a nation have been so laser-focused on Karens behaving badly, we forgot to even give a name to the men who conduct themselves just as atrociously.\u003c/p>\n\u003cp>The hashtag \u003ca href=\"https://twitter.com/hashtag/KarensGoneWild?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#KarensGoneWild\u003c/a> is a large section of Twitter dedicated to women who racially profile others, refuse to wear masks in stores, and generally behave with an inflamed sense of self-entitlement. Clips of men doing the same thing aren’t hard to find, but they often fail to garner the same degree of attention.\u003c/p>\n\u003cp>Last week, 57-year-old \u003ca href=\"https://www.nbcnewyork.com/news/local/video-of-white-man-calling-police-on-black-men-at-stamford-marina-sparks-outrage/2488405/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Dudek called the cops\u003c/a> on a party of five Black and Latino men and accused them of harassing him. He shouted “White lives matter too!” in the middle of his phone call to 911. In May, a Minneapolis man named \u003ca href=\"https://www.theguardian.com/us-news/2020/may/27/video-minnesota-police-black-entrepreneurs-gym\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Austin called the cops\u003c/a> on a group of younger Black men for using the gym in their shared office building. (He said he didn’t think they looked like they belonged there.) And a few weeks ago, a man was \u003ca href=\"https://twitter.com/MadMaxDante/status/1275877394943967237\" target=\"_blank\" rel=\"noopener noreferrer\">caught on camera\u003c/a> calling a Black man “boy” and telling him to “fetch me some water.” Despite no women being featured in the video, the clip was hashtagged “#Karens” and “#KarensGoneWild” on Twitter.\u003c/p>\n\u003cp>Some corners of the internet have been actively trying to fill the Karen-adjacent void. In its reporting of the Beasley-Barajas altercation, \u003ca href=\"https://sfist.com/2020/06/27/sf-ken-filmed-blocking-latino-man-from-entering-his-own-apartment-complex/\" target=\"_blank\" rel=\"noopener noreferrer\">SFist\u003c/a> referred to Beasley as a “Ken”—a term that has also previously been used by the \u003ca href=\"https://www.fatherly.com/love-money/male-version-of-karen-meme/\" target=\"_blank\" rel=\"noopener noreferrer\">Fatherly\u003c/a> website. \u003ca href=\"https://www.quora.com/What-is-the-male-equivalent-of-a-Karen-called-You-know-the-guy-who-always-wants-to-speak-to-the-manager-because-hes-entitled-to-better-services-or-upgrades\" target=\"_blank\" rel=\"noopener noreferrer\">Quora\u003c/a> and \u003ca href=\"https://www.reddit.com/r/AskReddit/comments/an7xsa/who_is_male_equivalent_for_karen/\" target=\"_blank\" rel=\"noopener noreferrer\">Reddit users\u003c/a> are conflicted, with a mixed bag of suggestions including “Thad,” “Donald,” “Frank,” “Greg,” “Todd” and “Kevin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Kevin” has recently emerged as the frontrunner. An Instagram account titled \u003ca href=\"https://www.instagram.com/karenandkevingoingwild/\" target=\"_blank\" rel=\"noopener noreferrer\">KarenAndKevinGoingWild\u003c/a> launched in May and already has upwards of 200,000 followers. “Kevin” got a boost on Twitter last week as well, after Mark and Patricia McCloskey\u003ca href=\"https://twitter.com/ABC/status/1277526031935647744\" target=\"_blank\" rel=\"noopener noreferrer\"> waved guns\u003c/a> in the direction of Black Lives Matter protesters in St. Louis. (The couple made \u003ca href=\"https://www.riverfronttimes.com/newsblog/2020/06/29/couple-who-pointed-guns-at-protesters-release-statement-in-support-of-protesters\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> the following day that they were, in fact, in support of the protest.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On the back of the McCloskys, #KevinsGoneWild is finally picking up a little steam on Twitter. Posts with the hashtag include two separate \u003ca href=\"https://twitter.com/901Flava/status/1277384025456422915\" target=\"_blank\" rel=\"noopener noreferrer\">clips\u003c/a> of \u003ca href=\"https://twitter.com/AnaBrand214/status/1277017065983897600\" target=\"_blank\" rel=\"noopener noreferrer\">men harassing\u003c/a> peaceful protesters (including some 15-year-old girls), a \u003ca href=\"https://twitter.com/AnaBrand214/status/1277005461317750785\" target=\"_blank\" rel=\"noopener noreferrer\">Lyft passenger\u003c/a> refusing to wear a mask and using racial slurs against a driver, a shirtless white man standing on a street corner \u003ca href=\"https://twitter.com/SpritzzyChick/status/1273980942533767168\" target=\"_blank\" rel=\"noopener noreferrer\">cracking a whip\u003c/a>, and a maskless man \u003ca href=\"https://twitter.com/adrianVenditti/status/1273726389926146048\" target=\"_blank\" rel=\"noopener noreferrer\">harassing\u003c/a> a coffee shop employee over a Black Lives Matter sign.\u003c/p>\n\u003cp>Despite this kind of evidence, there have been suggestions that racially charged harassment—especially that which involves self-righteously calling 911—is an activity specific to women. In early June, Dr. Apryl Williams, an assistant professor at University of Michigan \u003ca href=\"https://www.fatherly.com/love-money/male-version-of-karen-meme/\" target=\"_blank\" rel=\"noopener noreferrer\">told Fatherly\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The reason we don’t see so many of these incidents where white men are calling the police on Black people is due to the gender socialization process where women are conditioned to call out and seek help and men are not. In the case of Ahmaud Arbery, instead of calling the police, these white men decided to take justice into their own hands.\u003c/p>\u003c/blockquote>\n\u003cp>There is ample evidence, however, that physical violence and phone calls to the police are not mutually exclusive. Let’s not forget \u003ca href=\"https://www.documentcloud.org/documents/326700-full-transcript-zimmerman.html\" target=\"_blank\" rel=\"noopener noreferrer\">George Zimmerman called the police\u003c/a> before shooting Trayvon Martin. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some writers—including \u003ca href=\"https://gen.medium.com/how-the-karen-meme-benefits-the-right-4cff760d6e90\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Burleigh\u003c/a> and \u003ca href=\"https://www.boredpanda.com/julie-bindel-sparks-karen-slur-debate\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Bindel\u003c/a> (who referred to Karen as a “slur” on Twitter)—have argued that the new widespread use of “Karen” is rooted in misogyny. That argument is a bit of a stretch. After all, these women got called out first and foremost because they were caught on camera behaving appallingly—not because they were women.\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> true, however, that America has a tendency to hold women to higher standards than men. We see that in school \u003ca href=\"https://www.edweek.org/ew/articles/2018/09/05/do-school-dress-codes-discrimate-against-girls.html\" target=\"_blank\" rel=\"noopener noreferrer\">dress codes\u003c/a> that target girls more than boys. And in professional environments where women receive \u003ca href=\"https://www.npr.org/2016/06/02/480487259/women-held-to-higher-ethical-standard-than-men-study-shows\" target=\"_blank\" rel=\"noopener noreferrer\">harsher penalties\u003c/a> than men for committing the same infractions. And it’s why there are often \u003ca href=\"https://www.dictionary.com/e/mistress-and-other-words-that-have-no-male-counterpart/\" target=\"_blank\" rel=\"noopener noreferrer\">no male equivalent words\u003c/a> for derogatory terms used against women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Calling out the Karens is an essential part of exposing casual racism that white people might otherwise never witness. And using that handle—while unfortunate for women actually named Karen—brings a levity to hard-to-watch content that makes it more shareable. But as long as America is holding Karen accountable, it’s only right to apply equal pressure to her male counterpart. We need to talk about Kevin just as much.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Do Right By Us': Black 'Survivor' Alums Say the Reality Was Harmful Stereotypes",
"headTitle": "‘Do Right By Us’: Black ‘Survivor’ Alums Say the Reality Was Harmful Stereotypes | KQED",
"content": "\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98",
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"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\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/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new visual album written, directed and executive produced by Beyoncé is on its way.\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> will celebrate Black resilience and culture, and premiere globally on Disney+ on July 31, according to a \u003ca href=\"https://dtcimedia.disney.com/news/black-is-king-july-31\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>. The album is based on the music of \u003cem>The Lion King: The Gift\u003c/em>, the Beyoncé-curated soundtrack album for the \u003cem>Lion King\u003c/em> animated remake released last July, in which she voiced the character of Nala.\u003c/p>\n\u003cp>“The visual album from Beyoncé reimagines the lessons of \u003cem>The Lion King\u003c/em> for today’s young kings and queens in search of their own crowns,” reads the statement from Disney and from Beyoncé’s company, Parkwood Entertainment.\u003c/p>\n\u003cp>The film, which was in production for one year, will star the album’s featured artists as well as special guest appearances. A minute-long \u003ca href=\"https://beyonce.com/\" target=\"_blank\" rel=\"noopener noreferrer\">teaser video\u003c/a> is available on Beyoncé’s website.\u003c/p>\n\u003cp>The press release says the album honors the voyages of Black families throughout time, and tells the story of a young king’s journey through betrayal, love and self-identity. Guided by his ancestors, father and childhood love, he earns the virtues needed to reclaim his “home and throne.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These timeless lessons are revealed and reflected through Black voices of today, now sitting in their own power,” it reads. \u003cem>Black Is King \u003c/em>“is an affirmation of a grand purpose, with lush visuals that celebrate Black resilience and culture. The film highlights the beauty of tradition and Black excellence.”\u003c/p>\n\u003cp>The announcement comes on the heels of Beyoncé’s latest surprise, a single called \u003ca href=\"https://www.npr.org/2020/06/20/881215617/beyonce-releases-new-song-black-parade-in-the-final-hours-of-juneteenth\" target=\"_blank\" rel=\"noopener noreferrer\">“Black Parade”\u003c/a> that she released on Juneteenth. She announced \u003ca href=\"https://www.beyonce.com/black-parade-route/?q=&page=1&category=all\" target=\"_blank\" rel=\"noopener noreferrer\">on her website\u003c/a> that proceeds from the song will benefit Black-owned small businesses in need through her BeyGOOD initiative.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Black excellence is a form of protest,” the post said. “Black joy is your right.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+To+Drop+Visual+Album%2C+%27Black+Is+King%2C%27+On+Disney%2B+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tu1ZpF0bzMg\u003c/p>\n\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpzEIrtBzTM\u003c/p>\n\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\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=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Gone With The Wind' Returns to HBO Max With New Introduction",
"headTitle": "‘Gone With The Wind’ Returns to HBO Max With New Introduction | KQED",
"content": "\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” [aside postid='arts_13881748']\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\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=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\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=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "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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"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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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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