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"title": "So Billie Eilish Took Her Shirt Off. What's to Celebrate?",
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"content": "\u003cp>Billie Eilish is being \u003ca href=\"https://twitter.com/i/events/1237401235562659841\" target=\"_blank\" rel=\"noopener noreferrer\">praised\u003c/a> for a new video in which she calls out those who criticize her appearance. The clip, which played during an interlude at her Monday night concert in Miami, shows the Grammy winner slowly shedding most of her clothes, before sinking beneath black water. Over the visuals, her voice can be heard dispassionately explaining that, when it comes to her appearance, she’s damned if she does and damned if she doesn’t. Its impact is undeniable.\u003c/p>\n\u003cp>“You have opinions—about my opinions, about my music, about my clothes, about my body,” she begins. “Some people hate what I wear, some people praise it, some people use it to shame others, some people use it to shame me, but I feel you watching—always—and nothing I do goes unseen.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cIpYrDHzYbs\u003c/p>\n\u003cp>She continues: “If I wear what is comfortable, I am not a woman. If I shed the layers, I’m a slut. Though you’ve never seen my body, you still judge it and judge me for it.” [aside postid='arts_13875462']\u003c/p>\n\u003cp>For Eilish, fashion has always been symbolic. Last year, in a video made for the #MYCALVINS campaign, the singer stated clearly why she favors loose-fitting clothing—she uses it as a form of protection. “I never want the world to know everything about me,” she says in the promo. “I mean, that’s why I wear big baggy clothes. Nobody can have an opinion because they haven’t seen what’s underneath.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JeMmUglv6wA\u003c/p>\n\u003cp>What happened in Miami—though undoubtedly a powerful middle-finger to critics—was a watershed moment. Essentially, we just witnessed the exact instant that Billie Eilish realized the one thing she’s been relying on to protect her, could no longer do so. [aside postid='arts_13875053']\u003c/p>\n\u003cp>Less than a month ago, Eilish spoke on British television about the bullying she has increasingly experienced, and how it has recently forced her offline. “The cooler the things you get to do are, the more people hate you,” she told \u003cem>BBC Breakfast\u003c/em>. “It’s way worse than it’s ever been right now… The internet is ruining my life.”\u003c/p>\n\u003cp>https://twitter.com/watticedis/status/1229872298515222528\u003c/p>\n\u003cp>Eilish’s dedication to wearing everything oversized has always been part of her allure. Her look was never anti-fashion, or just weird for the sake of it—it was Gucci and Burberry and Chanel in gender-defying forms that sought to carve out a new means of self-expression. It refused to succumb to old-fashioned beauty standards. Eilish has also been careful to always make sure her style wasn’t used to shame other women.\u003c/p>\n\u003cp>“The positive comments about how I dress have this slut-shaming element. Like, ‘I am so glad that you’re dressing like a boy, so other girls can dress like boys, so that they aren’t sluts’,” \u003ca href=\"https://vmagazine.com/article/v121-billie-eilish-by-pharrell-part-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Eilish told \u003c/a>\u003cem>V Magazine\u003c/em> last year. “That’s basically what it sounds like to me. And I can’t overstate how strongly I do not appreciate that, at all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usually when a pop star performs a metamorphosis like this, they do so as part of a new album cycle. Eilish has done it out of the blue and just weeks after noting an increase in online hate directed at her. As such, it’s hard not to wonder if that was the motivation. Though, smart and tenacious as ever, she successfully managed to put an empowering spin on it, that doesn’t necessarily mean we should celebrate. Going by her own words, she essentially just threw her hands up and abandoned her security blanket.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Eilish is being \u003ca href=\"https://twitter.com/i/events/1237401235562659841\" target=\"_blank\" rel=\"noopener noreferrer\">praised\u003c/a> for a new video in which she calls out those who criticize her appearance. The clip, which played during an interlude at her Monday night concert in Miami, shows the Grammy winner slowly shedding most of her clothes, before sinking beneath black water. Over the visuals, her voice can be heard dispassionately explaining that, when it comes to her appearance, she’s damned if she does and damned if she doesn’t. Its impact is undeniable.\u003c/p>\n\u003cp>“You have opinions—about my opinions, about my music, about my clothes, about my body,” she begins. “Some people hate what I wear, some people praise it, some people use it to shame others, some people use it to shame me, but I feel you watching—always—and nothing I do goes unseen.”\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/cIpYrDHzYbs'\n title='//www.youtube.com/embed/cIpYrDHzYbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She continues: “If I wear what is comfortable, I am not a woman. If I shed the layers, I’m a slut. Though you’ve never seen my body, you still judge it and judge me for it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Eilish, fashion has always been symbolic. Last year, in a video made for the #MYCALVINS campaign, the singer stated clearly why she favors loose-fitting clothing—she uses it as a form of protection. “I never want the world to know everything about me,” she says in the promo. “I mean, that’s why I wear big baggy clothes. Nobody can have an opinion because they haven’t seen what’s underneath.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Less than a month ago, Eilish spoke on British television about the bullying she has increasingly experienced, and how it has recently forced her offline. “The cooler the things you get to do are, the more people hate you,” she told \u003cem>BBC Breakfast\u003c/em>. “It’s way worse than it’s ever been right now… The internet is ruining my life.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Eilish’s dedication to wearing everything oversized has always been part of her allure. Her look was never anti-fashion, or just weird for the sake of it—it was Gucci and Burberry and Chanel in gender-defying forms that sought to carve out a new means of self-expression. It refused to succumb to old-fashioned beauty standards. Eilish has also been careful to always make sure her style wasn’t used to shame other women.\u003c/p>\n\u003cp>“The positive comments about how I dress have this slut-shaming element. Like, ‘I am so glad that you’re dressing like a boy, so other girls can dress like boys, so that they aren’t sluts’,” \u003ca href=\"https://vmagazine.com/article/v121-billie-eilish-by-pharrell-part-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Eilish told \u003c/a>\u003cem>V Magazine\u003c/em> last year. “That’s basically what it sounds like to me. And I can’t overstate how strongly I do not appreciate that, at all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usually when a pop star performs a metamorphosis like this, they do so as part of a new album cycle. Eilish has done it out of the blue and just weeks after noting an increase in online hate directed at her. As such, it’s hard not to wonder if that was the motivation. Though, smart and tenacious as ever, she successfully managed to put an empowering spin on it, that doesn’t necessarily mean we should celebrate. Going by her own words, she essentially just threw her hands up and abandoned her security blanket.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Coronavirus Crafts on Etsy: Yes, It's a Thing",
"headTitle": "Coronavirus Crafts on Etsy: Yes, It’s a Thing | KQED",
"content": "\u003cp>As reactions to the deaths of over 3,000 people go, creating fluffy renditions of the thing that killed them has to be right down there with 9/11 \u003ca href=\"https://www.11alive.com/article/news/local/911-costume-at-dragon-con-depicts-dolls-jumping-from-buildings/85-313817488\" target=\"_blank\" rel=\"noopener noreferrer\">cosplay\u003c/a>. Yet in the past month, a sizable number of people have taken it upon themselves to create a range of hand-crafted coronavirus merch. And based on the number of already sold-out items, people are actually buying it.\u003c/p>\n\u003cp>Etsy alone currently offers a wide range of coronavirus merch that ranges from tacky (a multitude of \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20t%20shirts\" target=\"_blank\" rel=\"noopener noreferrer\">T-shirts\u003c/a> and \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20mugs\" target=\"_blank\" rel=\"noopener noreferrer\">mugs\u003c/a>) to totally baffling. Here are some that fall into the latter category.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Crocheted baby rattles:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875968 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png\" alt=\"\" width=\"387\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM-160x195.png 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Key rings (pills presumably not included):\u003c/strong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875963 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png\" alt=\"\" width=\"383\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM-160x181.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Whatever this is:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875965 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png\" alt=\"\" width=\"408\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM-160x168.png 160w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>An array of “Plushie” toys:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875964 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png\" alt=\"\" width=\"800\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-160x72.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-768x348.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM.png 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Doilies, maybe?:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875966 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png\" alt=\"\" width=\"376\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM-160x180.png 160w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Patches:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875974 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png\" alt=\"\" width=\"398\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM-160x179.png 160w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Pins:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875975 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png\" alt=\"\" width=\"394\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM-160x176.png 160w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Worry Dolls:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875977 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png\" alt=\"\" width=\"339\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png 339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM-160x180.png 160w\" sizes=\"(max-width: 339px) 100vw, 339px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Stickers:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875976 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png\" alt=\"\" width=\"345\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png 345w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM-160x174.png 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>And even crotchet patterns:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875973 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png\" alt=\"\" width=\"393\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png 393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM-160x180.png 160w\" sizes=\"(max-width: 393px) 100vw, 393px\">\u003c/p>\n\u003cp>If none of that tickles your fancy, you can also buy a surprisingly large number of self-published \u003ca href=\"https://www.amazon.com/s?k=coronavirus&ref=nb_sb_noss_2\" target=\"_blank\" rel=\"noopener noreferrer\">coronavirus survival guides\u003c/a> on Amazon, that can’t help but beg the question, “How did they write these books so fast?”\u003c/p>\n\u003cp>Don’t forget to wash your hands, everybody.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As reactions to the deaths of over 3,000 people go, creating fluffy renditions of the thing that killed them has to be right down there with 9/11 \u003ca href=\"https://www.11alive.com/article/news/local/911-costume-at-dragon-con-depicts-dolls-jumping-from-buildings/85-313817488\" target=\"_blank\" rel=\"noopener noreferrer\">cosplay\u003c/a>. Yet in the past month, a sizable number of people have taken it upon themselves to create a range of hand-crafted coronavirus merch. And based on the number of already sold-out items, people are actually buying it.\u003c/p>\n\u003cp>Etsy alone currently offers a wide range of coronavirus merch that ranges from tacky (a multitude of \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20t%20shirts\" target=\"_blank\" rel=\"noopener noreferrer\">T-shirts\u003c/a> and \u003ca href=\"https://www.etsy.com/search?q=coronavirus%20mugs\" target=\"_blank\" rel=\"noopener noreferrer\">mugs\u003c/a>) to totally baffling. Here are some that fall into the latter category.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Crocheted baby rattles:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875968 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png\" alt=\"\" width=\"387\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM.png 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.56.12-PM-160x195.png 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Key rings (pills presumably not included):\u003c/strong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875963 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png\" alt=\"\" width=\"383\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.46.08-PM-160x181.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Whatever this is:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875965 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png\" alt=\"\" width=\"408\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.43.48-PM-160x168.png 160w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>An array of “Plushie” toys:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875964 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png\" alt=\"\" width=\"800\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-800x362.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-160x72.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM-768x348.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.48.33-PM.png 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Doilies, maybe?:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875966 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png\" alt=\"\" width=\"376\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM.png 376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-1.42.51-PM-160x180.png 160w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Patches:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875974 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png\" alt=\"\" width=\"398\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM.png 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.03.37-PM-160x179.png 160w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Pins:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875975 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png\" alt=\"\" width=\"394\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM.png 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.05.02-PM-160x176.png 160w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Worry Dolls:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875977 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png\" alt=\"\" width=\"339\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM.png 339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.08.14-PM-160x180.png 160w\" sizes=\"(max-width: 339px) 100vw, 339px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Stickers:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875976 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png\" alt=\"\" width=\"345\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM.png 345w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.06.42-PM-160x174.png 160w\" sizes=\"(max-width: 345px) 100vw, 345px\">\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>And even crotchet patterns:\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875973 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png\" alt=\"\" width=\"393\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM.png 393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-04-at-2.01.34-PM-160x180.png 160w\" sizes=\"(max-width: 393px) 100vw, 393px\">\u003c/p>\n\u003cp>If none of that tickles your fancy, you can also buy a surprisingly large number of self-published \u003ca href=\"https://www.amazon.com/s?k=coronavirus&ref=nb_sb_noss_2\" target=\"_blank\" rel=\"noopener noreferrer\">coronavirus survival guides\u003c/a> on Amazon, that can’t help but beg the question, “How did they write these books so fast?”\u003c/p>\n\u003cp>Don’t forget to wash your hands, everybody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean",
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"content": "\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9FQ6GqA02F/\u003c/p>\n\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Tattooed & Tenacious' Explores the History of Inked Californian Women",
"headTitle": "‘Tattooed & Tenacious’ Explores the History of Inked Californian Women | KQED",
"content": "\u003cp>In pop culture lore, the history of modern American tattooing started in the 1920s with Sailor Jerry, a man who worked hard to bring some respectability to the often-bawdy art form he’d fallen in love with in the Navy. It’s too often forgotten that old school tattoos were just as beloved by women.\u003c/p>\n\u003cp>Back in the 19th century, permanent body art had a female fan base that crossed social boundaries. Upper class women enjoyed discreet tattoos as far back as the 1880s, while working class \u003ca href=\"https://en.wikipedia.org/wiki/Tattooed_lady\" target=\"_blank\" rel=\"noopener noreferrer\">tattooed ladies\u003c/a> (including the likes of \u003ca href=\"https://www.thehumanmarvels.com/nora-hildebrandt-the-first-tattooed-lady/\" target=\"_blank\" rel=\"noopener noreferrer\">Nora Hildebrandt\u003c/a>, \u003ca href=\"https://vintagenewsdaily.com/the-original-tattooed-lady-portraits-of-irene-woodward-aka-la-belle-irene-in-the-late-19th-and-early-20-centuries/\" target=\"_blank\" rel=\"noopener noreferrer\">La Belle Irene\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Betty_Broadbent\" target=\"_blank\" rel=\"noopener noreferrer\">Betty Broadbent\u003c/a>) were most commonly seen in circus sideshows.\u003c/p>\n\u003cp>Throughout this spring and summer, the Camron-Stanford house at Lake Merritt is using photos, historical testimonies and even a mannequin painted by contemporary female tattoo artists to uncover and explore the rich history of tattooed women in California. This includes the Native American girls for whom tattoos were a rite of passage, up to present day women, who are \u003ca href=\"https://www.reuters.com/article/us-tattoos-women/tattooed-women-outnumber-men-in-a-new-poll-idUSTRE8241SF20120305\" target=\"_blank\" rel=\"noopener noreferrer\">statistically more likely\u003c/a> to be tattooed than men.\u003c/p>\n\u003cp>Curated by \u003ca href=\"https://www.linkedin.com/in/amyecohen/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Cohen\u003c/a>, the \u003ci>Tattooed and Tenacious: Inked Women in California History\u003c/i> collection comes to Oakland after popular runs at the \u003ca href=\"https://static1.squarespace.com/static/55d50499e4b0b8db603593d1/t/561163ece4b02a15fa427a47/1443980268348/2015_06+Tattooed+and+Tenacious+Inked+Women+in+California%27s+History.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a> in 2015 and at \u003ca href=\"http://historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> in 2016. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In pop culture lore, the history of modern American tattooing started in the 1920s with Sailor Jerry, a man who worked hard to bring some respectability to the often-bawdy art form he’d fallen in love with in the Navy. It’s too often forgotten that old school tattoos were just as beloved by women.\u003c/p>\n\u003cp>Back in the 19th century, permanent body art had a female fan base that crossed social boundaries. Upper class women enjoyed discreet tattoos as far back as the 1880s, while working class \u003ca href=\"https://en.wikipedia.org/wiki/Tattooed_lady\" target=\"_blank\" rel=\"noopener noreferrer\">tattooed ladies\u003c/a> (including the likes of \u003ca href=\"https://www.thehumanmarvels.com/nora-hildebrandt-the-first-tattooed-lady/\" target=\"_blank\" rel=\"noopener noreferrer\">Nora Hildebrandt\u003c/a>, \u003ca href=\"https://vintagenewsdaily.com/the-original-tattooed-lady-portraits-of-irene-woodward-aka-la-belle-irene-in-the-late-19th-and-early-20-centuries/\" target=\"_blank\" rel=\"noopener noreferrer\">La Belle Irene\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Betty_Broadbent\" target=\"_blank\" rel=\"noopener noreferrer\">Betty Broadbent\u003c/a>) were most commonly seen in circus sideshows.\u003c/p>\n\u003cp>Throughout this spring and summer, the Camron-Stanford house at Lake Merritt is using photos, historical testimonies and even a mannequin painted by contemporary female tattoo artists to uncover and explore the rich history of tattooed women in California. This includes the Native American girls for whom tattoos were a rite of passage, up to present day women, who are \u003ca href=\"https://www.reuters.com/article/us-tattoos-women/tattooed-women-outnumber-men-in-a-new-poll-idUSTRE8241SF20120305\" target=\"_blank\" rel=\"noopener noreferrer\">statistically more likely\u003c/a> to be tattooed than men.\u003c/p>\n\u003cp>Curated by \u003ca href=\"https://www.linkedin.com/in/amyecohen/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Cohen\u003c/a>, the \u003ci>Tattooed and Tenacious: Inked Women in California History\u003c/i> collection comes to Oakland after popular runs at the \u003ca href=\"https://static1.squarespace.com/static/55d50499e4b0b8db603593d1/t/561163ece4b02a15fa427a47/1443980268348/2015_06+Tattooed+and+Tenacious+Inked+Women+in+California%27s+History.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward Area Historical Society\u003c/a> in 2015 and at \u003ca href=\"http://historysanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">History San Jose\u003c/a> in 2016. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last decade, ghosts have become an increasingly present part of live music, with holographic recreations of Tupac, Michael Jackson and opera great Maria Callas all appearing in concert. \u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">Whitney Housto\u003c/a>n’s estate is taking the trend to the next level; starting Feb. 25, the late pop superstar will embark on a hologram tour of Europe.\u003c/p>\n\u003cp>“This is happening at a time when great, classic performers are no longer with us, like Michael Jackson, or David Bowie, or Prince, or Aretha Franklin,” Jason King, who hosted the NPR R&B channel \u003cem>I’ll Take You There\u003c/em>, says. “Awards show viewership is lower than it’s ever been. So this is an opportunity for masses of people to reconnect with great performers of the past, whether you’re talking about Maria Callas, or Whitney Houston or others.”\u003c/p>\n\u003cp>Houston’s posthumous program is called \u003cem>An Evening with Whitney\u003c/em> and produced by the same company that put on the Callas hologram show; it features a digital recreation of Houston, supported by a live band, singing her greatest hits and bantering with the audience.\u003c/p>\n\u003cp>There are a wide range of ethical dilemmas raised by both the concept of posthumous hologram tours and specifically by a Whitney Houston tour.\u003c/p>\n\u003cp>“This is an artist who spent some time in her career in the throes of substance abuse, did not always seem in control of her image, or her sound, or her finances,” King says. “And so now there is this potential that she’s being exploited all over again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Lulu Garcia-Navarro spoke to Jason King about how these holograms—a high-tech version of a 19th century projection trick—work and why there’s been a sudden emergence of this style of show. Listen to their full conversation in the player above.\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=%27An+Evening+With+Whitney%27+Hologram+Tour+Trades+On+The+Image+Of+A+Complicated+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Revisiting 'Tiptoes'—and Gary Oldman's Bizarre Starring Role as a Little Person",
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"content": "\u003cp>In an interview about his movie, Gary Oldman once said: “It is a glorious part. A dream of a role. But it wasn’t an immediate ‘yes’. I just wondered how I would meet the physical challenge of it. I happen to think it’s an incredible … bench mark in the field of make-up.”\u003c/p>\n\u003cp>Oldman was, of course, talking about his Academy Award-winning transformation into Winston Churchill in \u003cem>Darkest Hour. \u003c/em>But various corners of the internet have since \u003ca href=\"https://www.youtube.com/watch?v=A4w6-XXXv90\" target=\"_blank\" rel=\"noopener noreferrer\">taken his words\u003c/a> and applied them instead to his role in 2004’s \u003cem>Tiptoes\u003c/em>—a relentless hellride of a movie in which he plays a little person. (Try not to think on that title too hard—it gets worse the longer you do.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O3qGGk5ymQ4\u003c/p>\n\u003cp>“He was basically on his knees,” co-star \u003ca href=\"https://www.yahoo.com/entertainment/the-incredible-story-behind-tiptoes-the-movie-in-121940150.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Beckinsale later explained\u003c/a> to MTV, “with a prosthetic part of his head and face and a hump and different kinds of harnesses to strap his arms back to make them short, and special clothes. They had various different effects, like if he was sitting in a chair, his legs would actually be inside the chair and he’d have these little fake legs sticking out on top.”\u003c/p>\n\u003cp>She’s not joking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Tiptoes\u003c/em>, at first glance, appears to be a fairly typical romantic comedy: Matthew McConaughey plays Steven, a regular-guy firefighter who’s in a relationship with a tattooed painter named Carol (played by Beckinsale). Steven is secretive about his background until Carol gets a surprise visitor one day who tells her that Steven is the only one in his family who wasn’t born with dwarfism. The news is an especially big shock since she’s just found out she is pregnant.\u003c/p>\n\u003cfigure id=\"attachment_13874946\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/v1.jpg\" alt=\"Patricia Arquette and Peter Dinklage in 'Tiptoes.'\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1-160x160.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Arquette and Peter Dinklage in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>Oldman plays Steven’s twin brother Rolfe (with an American accent that is not great), and Peter Dinklage appears as his pal Maurice, a French Marxist (with an accent that’s not… \u003cem>bien\u003c/em>). Maurice is dating Lucy, a hitchhiker with white-lady cornrows played by Patricia Arquette. (It’s worth noting that Arquette and Dinklage play the only vaguely likable characters in this entire thing.)\u003c/p>\n\u003cp>It remains a mystery how this movie got a cast of this stature, but one gets the sense that, once upon a time, \u003cem>Tiptoes\u003c/em> was trying to be important. The ghosts of those good intentions emerge occasionally in scenes that aim to prove that little people are just like everyone else—opinionated, sexually active, well-rounded—except for when they’re forced to deal with casual abuse from strangers and physical ailments related to their size. Unfortunately, because the movie ultimately can’t figure out what it wants to be—a romance, slapstick comedy or searing drama—salient points tend to get lost.\u003c/p>\n\u003cp>It doesn’t help that the script is self-conscious, PSA-level clunky and grossly \u003ca href=\"https://dwarfparents.com/chance-having-dwarf-child\" target=\"_blank\" rel=\"noopener noreferrer\">over-estimates the likelihood\u003c/a> of two average sized people producing a child with dwarfism. It doesn’t help that the ending is completely out of left field and patronizing but, worst of all, the film is prone to presenting little people as caricatures—the slutty blond, the angry communist and the wholesome family man are all here.\u003c/p>\n\u003cp>If there’s one consistent element in\u003cem> Tiptoes,\u003c/em> it’s in just how offensive Oldman’s physical appearance is. He’s given a walking stick as a ploy to explain the awkward movements caused by him “walking” on his knees. His prosthetic hump moves and changes size. And every time an actual little person is used as his body double, it shines a spotlight on just how different Oldman’s proportions are. Worst of all, those fake legs Beckinsale mentioned look like limp foam appendages ripped off a cheap Halloween costume.\u003c/p>\n\u003cp>In a 2012 \u003cem>New York Times\u003c/em> interview, Dinklage expressed mixed feelings about the film. “It was sort of an amazing idea for a movie, but the result [of the final cut] was what we were fighting against—the cutesiness of little people,” he said. “There was some flak. ‘Why would you put Gary Oldman on his knees? That’s almost like blackface.’ And I have my own opinions about political correctness, but I was just like, ‘It’s Gary Oldman. He can do whatever he wants.'”\u003c/p>\n\u003cp>(Just because you can, doesn’t mean you should.)\u003c/p>\n\u003cfigure id=\"attachment_13874900\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/image-800x400.jpg\" alt=\"Gary Oldman and Kate Beckinsale in 'Tiptoes.'\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman and Kate Beckinsale in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tiptoes\u003c/em> is just one in an extremely long line of movies that have inflicted indignities on little people. Exploitation was rife in the early days of Hollywood—the actors who played Munchkins in 1939’s \u003cem>Wizard of Oz\u003c/em>, for example, were paid \u003ca href=\"https://www.hollywoodreporter.com/features/little-people-actors-actresses-low-pay-degrading-jobs-tragedy-922261\" target=\"_blank\" rel=\"noopener noreferrer\">less than half\u003c/a> of what the dog that played Toto made per week. Plus, roles are—and have always been—very limited. Even after becoming a household name as Mini-Me in \u003cem>Austin Powers: The Spy Who Shagged Me, \u003c/em>Verne Troyer was recently reduced to starring in \u003ca href=\"https://www.youtube.com/watch?v=9ywANMZs4hY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gnome Alone\u003c/em>\u003c/a>, a low budget horror movie. To make matters worse, available parts for little people are often limited to that of evil creatures or magical beings. (See: Griphook in \u003cem>Harry Potter, \u003c/em>or the Oompa Loompas in \u003cem>Charlie and the Chocolate Factory.\u003c/em>)\u003c/p>\n\u003cp>Ali Chapman, an actress, entertainer and cast member of \u003ca href=\"https://www.hulu.com/series/little-women-la-545f850c-28e6-4aae-a114-0b971aa3b715?&cmp=7958&utm_source=google&utm_medium=cpc&utm_campaign=BM%20Search%20TV%20Shows&utm_term=&ds_rl=1263136&gclid=EAIaIQobChMI-Jzy7s_P5wIVbxitBh1qeAHFEAAYASAAEgK5QfD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women LA\u003c/em>\u003c/a> told \u003cem>The Hollywood Reporter\u003c/em> in 2016: “I mean, I can just be a nurse in a show, or a mom, or a lady walking her dog down the street! Like, do I need to be an elf? Do I need to be a leprechaun?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Tiptoes\u003c/em> did give little actors roles outside of the fantasy realm, it ultimately failed to treat dwarfism with much respect either. Its failure to give the role of Rolfe to someone born with the appropriate stature (\u003cem>Peter Dinklage was right there\u003c/em>!) wasn’t just a major stumbling block, it ultimately turned \u003cem>Tiptoes\u003c/em> into a sideshow—which was the exact opposite of what everyone involved clearly originally wanted. Today, it remains mostly buried, a cult classic and, for obvious reasons, a fairly major embarrassment for everyone involved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an interview about his movie, Gary Oldman once said: “It is a glorious part. A dream of a role. But it wasn’t an immediate ‘yes’. I just wondered how I would meet the physical challenge of it. I happen to think it’s an incredible … bench mark in the field of make-up.”\u003c/p>\n\u003cp>Oldman was, of course, talking about his Academy Award-winning transformation into Winston Churchill in \u003cem>Darkest Hour. \u003c/em>But various corners of the internet have since \u003ca href=\"https://www.youtube.com/watch?v=A4w6-XXXv90\" target=\"_blank\" rel=\"noopener noreferrer\">taken his words\u003c/a> and applied them instead to his role in 2004’s \u003cem>Tiptoes\u003c/em>—a relentless hellride of a movie in which he plays a little person. (Try not to think on that title too hard—it gets worse the longer you do.)\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/O3qGGk5ymQ4'\n title='//www.youtube.com/embed/O3qGGk5ymQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was basically on his knees,” co-star \u003ca href=\"https://www.yahoo.com/entertainment/the-incredible-story-behind-tiptoes-the-movie-in-121940150.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Beckinsale later explained\u003c/a> to MTV, “with a prosthetic part of his head and face and a hump and different kinds of harnesses to strap his arms back to make them short, and special clothes. They had various different effects, like if he was sitting in a chair, his legs would actually be inside the chair and he’d have these little fake legs sticking out on top.”\u003c/p>\n\u003cp>She’s not joking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tiptoes\u003c/em>, at first glance, appears to be a fairly typical romantic comedy: Matthew McConaughey plays Steven, a regular-guy firefighter who’s in a relationship with a tattooed painter named Carol (played by Beckinsale). Steven is secretive about his background until Carol gets a surprise visitor one day who tells her that Steven is the only one in his family who wasn’t born with dwarfism. The news is an especially big shock since she’s just found out she is pregnant.\u003c/p>\n\u003cfigure id=\"attachment_13874946\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/v1.jpg\" alt=\"Patricia Arquette and Peter Dinklage in 'Tiptoes.'\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1-160x160.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Arquette and Peter Dinklage in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>Oldman plays Steven’s twin brother Rolfe (with an American accent that is not great), and Peter Dinklage appears as his pal Maurice, a French Marxist (with an accent that’s not… \u003cem>bien\u003c/em>). Maurice is dating Lucy, a hitchhiker with white-lady cornrows played by Patricia Arquette. (It’s worth noting that Arquette and Dinklage play the only vaguely likable characters in this entire thing.)\u003c/p>\n\u003cp>It remains a mystery how this movie got a cast of this stature, but one gets the sense that, once upon a time, \u003cem>Tiptoes\u003c/em> was trying to be important. The ghosts of those good intentions emerge occasionally in scenes that aim to prove that little people are just like everyone else—opinionated, sexually active, well-rounded—except for when they’re forced to deal with casual abuse from strangers and physical ailments related to their size. Unfortunately, because the movie ultimately can’t figure out what it wants to be—a romance, slapstick comedy or searing drama—salient points tend to get lost.\u003c/p>\n\u003cp>It doesn’t help that the script is self-conscious, PSA-level clunky and grossly \u003ca href=\"https://dwarfparents.com/chance-having-dwarf-child\" target=\"_blank\" rel=\"noopener noreferrer\">over-estimates the likelihood\u003c/a> of two average sized people producing a child with dwarfism. It doesn’t help that the ending is completely out of left field and patronizing but, worst of all, the film is prone to presenting little people as caricatures—the slutty blond, the angry communist and the wholesome family man are all here.\u003c/p>\n\u003cp>If there’s one consistent element in\u003cem> Tiptoes,\u003c/em> it’s in just how offensive Oldman’s physical appearance is. He’s given a walking stick as a ploy to explain the awkward movements caused by him “walking” on his knees. His prosthetic hump moves and changes size. And every time an actual little person is used as his body double, it shines a spotlight on just how different Oldman’s proportions are. Worst of all, those fake legs Beckinsale mentioned look like limp foam appendages ripped off a cheap Halloween costume.\u003c/p>\n\u003cp>In a 2012 \u003cem>New York Times\u003c/em> interview, Dinklage expressed mixed feelings about the film. “It was sort of an amazing idea for a movie, but the result [of the final cut] was what we were fighting against—the cutesiness of little people,” he said. “There was some flak. ‘Why would you put Gary Oldman on his knees? That’s almost like blackface.’ And I have my own opinions about political correctness, but I was just like, ‘It’s Gary Oldman. He can do whatever he wants.'”\u003c/p>\n\u003cp>(Just because you can, doesn’t mean you should.)\u003c/p>\n\u003cfigure id=\"attachment_13874900\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/image-800x400.jpg\" alt=\"Gary Oldman and Kate Beckinsale in 'Tiptoes.'\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman and Kate Beckinsale in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tiptoes\u003c/em> is just one in an extremely long line of movies that have inflicted indignities on little people. Exploitation was rife in the early days of Hollywood—the actors who played Munchkins in 1939’s \u003cem>Wizard of Oz\u003c/em>, for example, were paid \u003ca href=\"https://www.hollywoodreporter.com/features/little-people-actors-actresses-low-pay-degrading-jobs-tragedy-922261\" target=\"_blank\" rel=\"noopener noreferrer\">less than half\u003c/a> of what the dog that played Toto made per week. Plus, roles are—and have always been—very limited. Even after becoming a household name as Mini-Me in \u003cem>Austin Powers: The Spy Who Shagged Me, \u003c/em>Verne Troyer was recently reduced to starring in \u003ca href=\"https://www.youtube.com/watch?v=9ywANMZs4hY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gnome Alone\u003c/em>\u003c/a>, a low budget horror movie. To make matters worse, available parts for little people are often limited to that of evil creatures or magical beings. (See: Griphook in \u003cem>Harry Potter, \u003c/em>or the Oompa Loompas in \u003cem>Charlie and the Chocolate Factory.\u003c/em>)\u003c/p>\n\u003cp>Ali Chapman, an actress, entertainer and cast member of \u003ca href=\"https://www.hulu.com/series/little-women-la-545f850c-28e6-4aae-a114-0b971aa3b715?&cmp=7958&utm_source=google&utm_medium=cpc&utm_campaign=BM%20Search%20TV%20Shows&utm_term=&ds_rl=1263136&gclid=EAIaIQobChMI-Jzy7s_P5wIVbxitBh1qeAHFEAAYASAAEgK5QfD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women LA\u003c/em>\u003c/a> told \u003cem>The Hollywood Reporter\u003c/em> in 2016: “I mean, I can just be a nurse in a show, or a mom, or a lady walking her dog down the street! Like, do I need to be an elf? Do I need to be a leprechaun?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Tiptoes\u003c/em> did give little actors roles outside of the fantasy realm, it ultimately failed to treat dwarfism with much respect either. Its failure to give the role of Rolfe to someone born with the appropriate stature (\u003cem>Peter Dinklage was right there\u003c/em>!) wasn’t just a major stumbling block, it ultimately turned \u003cem>Tiptoes\u003c/em> into a sideshow—which was the exact opposite of what everyone involved clearly originally wanted. Today, it remains mostly buried, a cult classic and, for obvious reasons, a fairly major embarrassment for everyone involved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\n\u003cp>https://twitter.com/AmyKinLA/status/1226661824994480131\u003c/p>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Suicide of Caroline Flack, Tabloid Gossip and the Power of UK Newspapers",
"headTitle": "The Suicide of Caroline Flack, Tabloid Gossip and the Power of UK Newspapers | KQED",
"content": "\u003cp>The outpouring on social media arrived swiftly after the news of Caroline Flack’s death. The 40-year-old \u003ca href=\"https://www.kqed.org/pop/106271/dear-american-television-please-dont-ruin-love-island\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Love Island\u003c/em>\u003c/a> host and one of the U.K.’s most popular TV stars was found in her London apartment, dead from an apparent suicide, on Feb. 15. Her death came less than three weeks before she was due in court over the alleged assault of her boyfriend (she had pleaded not guilty), and years after unrelenting press coverage about her personal life had begun.\u003c/p>\n\u003cp>Fans and fellow celebrities quickly took to Twitter and called out the press for overburdening Flack in the months before her death.\u003c/p>\n\u003cp>https://twitter.com/matthaig1/status/1228749821881847808\u003c/p>\n\u003cp>https://twitter.com/mrdanwalker/status/1228749830350045185\u003c/p>\n\u003cp>https://twitter.com/LukeGoss/status/1228815633648762881\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The publication under the most immediate scrutiny was \u003cem>The Sun\u003c/em>, a daily tabloid that has long been \u003ca href=\"https://en.wikipedia.org/wiki/The_Sun_(United_Kingdom)#Circulation\" target=\"_blank\" rel=\"noopener noreferrer\">the biggest-selling newspaper\u003c/a> in the U.K., despite a number of national scandals in which the outlet has been accused of \u003ca href=\"https://www.theguardian.com/media/2016/jul/28/katie-hopkins-migrants-ipso-sun-cockroaches\" target=\"_blank\" rel=\"noopener noreferrer\">xenophobia\u003c/a>, \u003ca href=\"https://www.theguardian.com/commentisfree/2012/sep/14/sun-page-3-visible-tip-misogynys-iceberg\" target=\"_blank\" rel=\"noopener noreferrer\">misogyny\u003c/a> and, most famously, \u003ca href=\"https://en.wikipedia.org/wiki/Hillsborough_disaster\" target=\"_blank\" rel=\"noopener noreferrer\">victim blaming\u003c/a>. When news of Flack’s death broke, \u003cem>The Sun\u003c/em> was quick to remove a recent\u003ca href=\"https://www.theguardian.com/media/2020/feb/15/the-sun-takes-down-article-about-caroline-flack-from-website\" target=\"_blank\" rel=\"noopener noreferrer\"> negative story\u003c/a> it had published about her.\u003c/p>\n\u003cp>The truth though, is that all of the U.K.’s daily tabloids had paid keen attention to Flack’s personal life throughout her career—in December, \u003cem>The Daily Mail\u003c/em> wrote a story about her “\u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-7789585/Inside-Caroline-Flacks-car-crash-love-life.html\" target=\"_blank\" rel=\"noopener noreferrer\">car crash love life\u003c/a>.” That kind of scrutiny first started with her controversial relationship with Harry Styles when he was 17 and she was 31, continued after a brief dalliance with Prince Harry (before he’d met Meghan Markle), and was ongoing at the time of her death thanks to the alleged assault of her boyfriend, Lewis Burton, who she was said to have struck with a lamp.\u003c/p>\n\u003cp>It’s worth noting that despite consistent negative coverage about her relationships, it’s hard to find anyone in Flack’s life with anything bad to say about her. Harry Styles arrived at Tuesday’s BRIT Awards wearing a black ribbon, and moved many with his \u003ca href=\"https://www.youtube.com/watch?v=JkgBUvgNeoM\" target=\"_blank\" rel=\"noopener noreferrer\">emotional performance\u003c/a> of “Falling.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bFSFpHjsLY0\u003c/p>\n\u003cp>Not only was Lewis Burton still in a relationship with Flack at the time of her death, he had withdrawn his complaint about the alleged assault (the charges were instead brought by Britain’s \u003ca href=\"https://www.lbc.co.uk/radio/presenters/andrew-castle/caroline-flack-charges-cps-prosecution/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Prosecution Service\u003c/a>) and publicly defended her in the midst of the controversy and imminent trial. After \u003cem>The Sun\u003c/em> published photos of a blood-soaked sheet purported to be from injuries Flack inflicted on Burton, he \u003ca href=\"https://www.the-sun.com/news/206179/gruesome-pic-of-scene-after-caroline-flacks-boyfriend-was-assaulted-shows-mostly-her-blood/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram\u003c/a>, “This isn’t my blood and I didn’t get hit over the head with a lamp. Can everyone stop now.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B8nqjfWBwjA/\u003c/p>\n\u003cp>BBC Radio DJ and friend to Flack, Laura Whitmore, said on the air the day after her death: “I’m not going to pretend that she was perfect. But is anyone? She lived every mistake publicly under the scrutiny of the media … To the press, the newspapers who created clickbait, who demonize and tear down success, we’ve had enough.”\u003c/p>\n\u003cp>In the wake of Flack’s death, an online petition was quickly set up demanding the \u003ca href=\"https://you.38degrees.org.uk/petitions/flacks-law?bucket=email-blast-17_2_2020_carolines_law&source=twitter-share-button&utm_campaign=blast2020-02-17&utm_source=twitter&share=8890be77-fce2-4300-a78e-3394269360c9\" target=\"_blank\" rel=\"noopener noreferrer\">creation of a law\u003c/a> (specifically “Caroline’s Law”), “that would make it a criminal offense, not dissimilar to Corporate Manslaughter, for the British Media to knowingly and relentlessly bully a person, whether they be in the public eye or not, up to the point that they take their own life.” It had received over 737,000 signatures at the time of writing. (A further 218,000 people signed a petition asking for \u003ca href=\"https://www.change.org/p/secretary-of-state-for-digital-culture-media-and-sport-launch-government-inquiry-into-the-british-tabloids-following-death-of-caroline-flack?recruiter=1043035832&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition&utm_term=petition_dashboard\" target=\"_blank\" rel=\"noopener noreferrer\">a government inquiry\u003c/a> into Flack’s death.)\u003c/p>\n\u003cp>Such suggestions may seem like an overreaction in America, but the U.K. has been struggling with \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">questions around press conduct\u003c/a> and intrusion since the death of Princess Diana in 1997. At that time there was speculation that not only did the press hound her literally to death, but that the British public’s outpouring of grief afterwards was somehow related to guilt over its own enthusiastic consumption of stories that violated her privacy. [aside postid='arts_13866072,arts_13863206']\u003c/p>\n\u003cp>In the years since, however, little has changed. Between 2005 and 2011, investigations by both the Press Complaints Commission and \u003cem>The Guardian\u003c/em> revealed that British newspapers, including \u003cem>News of the World\u003c/em>, \u003cem>The Daily Mirror\u003c/em> and \u003cem>The Sun—\u003c/em>all owned by Rupert Murdoch’s News International corporation—had indulged in police bribery and phone hacking. Victims of the latter included celebrities, royals, politicians and, worst of all, the families of high-profile murder and terrorism victims.\u003c/p>\n\u003cp>These revelations resulted in the closure of \u003cem>News of the World\u003c/em>, multiple arrests and hundreds of thousands of pounds in compensation payments. But the smallness of the U.K. (geographically, it’s almost half the size of California) in combination with the sheer power of its handful of daily newspapers (\u003ca href=\"https://www.ofcom.org.uk/__data/assets/pdf_file/0024/116529/news-consumption-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">40% of people\u003c/a> in the U.K. regularly read newspapers, versus \u003ca href=\"https://www.pewresearch.org/fact-tank/2018/12/10/social-media-outpaces-print-newspapers-in-the-u-s-as-a-news-source/\" target=\"_blank\" rel=\"noopener noreferrer\">16% of Americans\u003c/a>) leaves the British people concerned about tabloid bullying and violations in an ongoing manner.\u003c/p>\n\u003cp>There can be no doubt that Caroline Flack was shown little kindness by the U.K. press in the run-up to her death, and it’s clear that she read what was written about her. In late 2019, she posted both of these headlines (with her own comments) to her Instagram stories:\u003c/p>\n\u003cfigure id=\"attachment_13875084\" class=\"wp-caption alignnone\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png\" alt=\"Instagram/ @carolineflack\" width=\"683\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1-160x149.png 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Instagram/ @carolineflack\u003c/figcaption>\u003c/figure>\n\u003cp>We cannot know how much influence press scrutiny had on Flack’s decision to end her own life. There can be no doubt that her upcoming trial, as well as her uncertain future as the host of \u003cem>Love Island\u003c/em> were also factors in her demise. But it’s fair to assume that too much tabloid scrutiny can wreak havoc on people’s mental health, both famous and otherwise.\u003c/p>\n\u003cp>In his book \u003cem>So You’ve Been Publicly Shamed\u003c/em>, Jon Ronson writes: “I suppose that when shamings are delivered like remotely administered drone strikes nobody needs to think about how ferocious our collective power might be.” Later, he concludes: “And so … when you see an unfair or an ambiguous shaming unfold, speak up on behalf of the shamed person. A babble of opposing voices—that’s democracy.”\u003c/p>\n\u003cp>In the wake of Flack’s death, the British public is doing just that, repeating a mantra that she herself posted to Instagram back in December: Be kind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.instagram.com/p/B5tO1tRFbEI/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The outpouring on social media arrived swiftly after the news of Caroline Flack’s death. The 40-year-old \u003ca href=\"https://www.kqed.org/pop/106271/dear-american-television-please-dont-ruin-love-island\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Love Island\u003c/em>\u003c/a> host and one of the U.K.’s most popular TV stars was found in her London apartment, dead from an apparent suicide, on Feb. 15. Her death came less than three weeks before she was due in court over the alleged assault of her boyfriend (she had pleaded not guilty), and years after unrelenting press coverage about her personal life had begun.\u003c/p>\n\u003cp>Fans and fellow celebrities quickly took to Twitter and called out the press for overburdening Flack in the months before her death.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The publication under the most immediate scrutiny was \u003cem>The Sun\u003c/em>, a daily tabloid that has long been \u003ca href=\"https://en.wikipedia.org/wiki/The_Sun_(United_Kingdom)#Circulation\" target=\"_blank\" rel=\"noopener noreferrer\">the biggest-selling newspaper\u003c/a> in the U.K., despite a number of national scandals in which the outlet has been accused of \u003ca href=\"https://www.theguardian.com/media/2016/jul/28/katie-hopkins-migrants-ipso-sun-cockroaches\" target=\"_blank\" rel=\"noopener noreferrer\">xenophobia\u003c/a>, \u003ca href=\"https://www.theguardian.com/commentisfree/2012/sep/14/sun-page-3-visible-tip-misogynys-iceberg\" target=\"_blank\" rel=\"noopener noreferrer\">misogyny\u003c/a> and, most famously, \u003ca href=\"https://en.wikipedia.org/wiki/Hillsborough_disaster\" target=\"_blank\" rel=\"noopener noreferrer\">victim blaming\u003c/a>. When news of Flack’s death broke, \u003cem>The Sun\u003c/em> was quick to remove a recent\u003ca href=\"https://www.theguardian.com/media/2020/feb/15/the-sun-takes-down-article-about-caroline-flack-from-website\" target=\"_blank\" rel=\"noopener noreferrer\"> negative story\u003c/a> it had published about her.\u003c/p>\n\u003cp>The truth though, is that all of the U.K.’s daily tabloids had paid keen attention to Flack’s personal life throughout her career—in December, \u003cem>The Daily Mail\u003c/em> wrote a story about her “\u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-7789585/Inside-Caroline-Flacks-car-crash-love-life.html\" target=\"_blank\" rel=\"noopener noreferrer\">car crash love life\u003c/a>.” That kind of scrutiny first started with her controversial relationship with Harry Styles when he was 17 and she was 31, continued after a brief dalliance with Prince Harry (before he’d met Meghan Markle), and was ongoing at the time of her death thanks to the alleged assault of her boyfriend, Lewis Burton, who she was said to have struck with a lamp.\u003c/p>\n\u003cp>It’s worth noting that despite consistent negative coverage about her relationships, it’s hard to find anyone in Flack’s life with anything bad to say about her. Harry Styles arrived at Tuesday’s BRIT Awards wearing a black ribbon, and moved many with his \u003ca href=\"https://www.youtube.com/watch?v=JkgBUvgNeoM\" target=\"_blank\" rel=\"noopener noreferrer\">emotional performance\u003c/a> of “Falling.”\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/bFSFpHjsLY0'\n title='//www.youtube.com/embed/bFSFpHjsLY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only was Lewis Burton still in a relationship with Flack at the time of her death, he had withdrawn his complaint about the alleged assault (the charges were instead brought by Britain’s \u003ca href=\"https://www.lbc.co.uk/radio/presenters/andrew-castle/caroline-flack-charges-cps-prosecution/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Prosecution Service\u003c/a>) and publicly defended her in the midst of the controversy and imminent trial. After \u003cem>The Sun\u003c/em> published photos of a blood-soaked sheet purported to be from injuries Flack inflicted on Burton, he \u003ca href=\"https://www.the-sun.com/news/206179/gruesome-pic-of-scene-after-caroline-flacks-boyfriend-was-assaulted-shows-mostly-her-blood/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram\u003c/a>, “This isn’t my blood and I didn’t get hit over the head with a lamp. Can everyone stop now.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BBC Radio DJ and friend to Flack, Laura Whitmore, said on the air the day after her death: “I’m not going to pretend that she was perfect. But is anyone? She lived every mistake publicly under the scrutiny of the media … To the press, the newspapers who created clickbait, who demonize and tear down success, we’ve had enough.”\u003c/p>\n\u003cp>In the wake of Flack’s death, an online petition was quickly set up demanding the \u003ca href=\"https://you.38degrees.org.uk/petitions/flacks-law?bucket=email-blast-17_2_2020_carolines_law&source=twitter-share-button&utm_campaign=blast2020-02-17&utm_source=twitter&share=8890be77-fce2-4300-a78e-3394269360c9\" target=\"_blank\" rel=\"noopener noreferrer\">creation of a law\u003c/a> (specifically “Caroline’s Law”), “that would make it a criminal offense, not dissimilar to Corporate Manslaughter, for the British Media to knowingly and relentlessly bully a person, whether they be in the public eye or not, up to the point that they take their own life.” It had received over 737,000 signatures at the time of writing. (A further 218,000 people signed a petition asking for \u003ca href=\"https://www.change.org/p/secretary-of-state-for-digital-culture-media-and-sport-launch-government-inquiry-into-the-british-tabloids-following-death-of-caroline-flack?recruiter=1043035832&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition&utm_term=petition_dashboard\" target=\"_blank\" rel=\"noopener noreferrer\">a government inquiry\u003c/a> into Flack’s death.)\u003c/p>\n\u003cp>Such suggestions may seem like an overreaction in America, but the U.K. has been struggling with \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">questions around press conduct\u003c/a> and intrusion since the death of Princess Diana in 1997. At that time there was speculation that not only did the press hound her literally to death, but that the British public’s outpouring of grief afterwards was somehow related to guilt over its own enthusiastic consumption of stories that violated her privacy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the years since, however, little has changed. Between 2005 and 2011, investigations by both the Press Complaints Commission and \u003cem>The Guardian\u003c/em> revealed that British newspapers, including \u003cem>News of the World\u003c/em>, \u003cem>The Daily Mirror\u003c/em> and \u003cem>The Sun—\u003c/em>all owned by Rupert Murdoch’s News International corporation—had indulged in police bribery and phone hacking. Victims of the latter included celebrities, royals, politicians and, worst of all, the families of high-profile murder and terrorism victims.\u003c/p>\n\u003cp>These revelations resulted in the closure of \u003cem>News of the World\u003c/em>, multiple arrests and hundreds of thousands of pounds in compensation payments. But the smallness of the U.K. (geographically, it’s almost half the size of California) in combination with the sheer power of its handful of daily newspapers (\u003ca href=\"https://www.ofcom.org.uk/__data/assets/pdf_file/0024/116529/news-consumption-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">40% of people\u003c/a> in the U.K. regularly read newspapers, versus \u003ca href=\"https://www.pewresearch.org/fact-tank/2018/12/10/social-media-outpaces-print-newspapers-in-the-u-s-as-a-news-source/\" target=\"_blank\" rel=\"noopener noreferrer\">16% of Americans\u003c/a>) leaves the British people concerned about tabloid bullying and violations in an ongoing manner.\u003c/p>\n\u003cp>There can be no doubt that Caroline Flack was shown little kindness by the U.K. press in the run-up to her death, and it’s clear that she read what was written about her. In late 2019, she posted both of these headlines (with her own comments) to her Instagram stories:\u003c/p>\n\u003cfigure id=\"attachment_13875084\" class=\"wp-caption alignnone\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png\" alt=\"Instagram/ @carolineflack\" width=\"683\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1-160x149.png 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Instagram/ @carolineflack\u003c/figcaption>\u003c/figure>\n\u003cp>We cannot know how much influence press scrutiny had on Flack’s decision to end her own life. There can be no doubt that her upcoming trial, as well as her uncertain future as the host of \u003cem>Love Island\u003c/em> were also factors in her demise. But it’s fair to assume that too much tabloid scrutiny can wreak havoc on people’s mental health, both famous and otherwise.\u003c/p>\n\u003cp>In his book \u003cem>So You’ve Been Publicly Shamed\u003c/em>, Jon Ronson writes: “I suppose that when shamings are delivered like remotely administered drone strikes nobody needs to think about how ferocious our collective power might be.” Later, he concludes: “And so … when you see an unfair or an ambiguous shaming unfold, speak up on behalf of the shamed person. A babble of opposing voices—that’s democracy.”\u003c/p>\n\u003cp>In the wake of Flack’s death, the British public is doing just that, repeating a mantra that she herself posted to Instagram back in December: Be kind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>About 10 years ago, traveling through San Antonio, I visited the Alamo. And one of the first questions I asked the tour guide was, “So how many people ask to see the basement?” He rolled his eyes. “At least one a day,” he told me.\u003c/p>\n\u003cp>There is no basement at the Alamo, but in the 1985 movie \u003cem>Pee Wee’s Big Adventure\u003c/em>, it’s \u003ca href=\"https://www.youtube.com/watch?v=cYfjq3ZYZbA\" rel=\"noopener noreferrer\" target=\"_blank\">a key plot point\u003c/a>. Of course, there are about 28 different plot points in the movie—it’s a jam-packed, madcap trip through a strange, campy America. The journey includes scary truck drivers, giant roadside dinosaurs, a quirky dance to the 1950s instrumental “Tequila,” and one man in search of his stolen bicycle.\u003c/p>\n\u003cp>\u003cem>Pee Wee’s Big Adventure\u003c/em> comes to town this month with Pee Wee Herman himself (Paul Reubens) discussing the making of the film afterward. If you want a reminder of just how surreal American culture can be, I wholly recommend it. That’s on Friday, Feb. 28, at the Masonic in San Francisco. \u003ca href=\"https://sfmasonic.com/event/pee-wee-herman-big-adventure-35th-anniversary/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 10 years ago, traveling through San Antonio, I visited the Alamo. And one of the first questions I asked the tour guide was, “So how many people ask to see the basement?” He rolled his eyes. “At least one a day,” he told me.\u003c/p>\n\u003cp>There is no basement at the Alamo, but in the 1985 movie \u003cem>Pee Wee’s Big Adventure\u003c/em>, it’s \u003ca href=\"https://www.youtube.com/watch?v=cYfjq3ZYZbA\" rel=\"noopener noreferrer\" target=\"_blank\">a key plot point\u003c/a>. Of course, there are about 28 different plot points in the movie—it’s a jam-packed, madcap trip through a strange, campy America. The journey includes scary truck drivers, giant roadside dinosaurs, a quirky dance to the 1950s instrumental “Tequila,” and one man in search of his stolen bicycle.\u003c/p>\n\u003cp>\u003cem>Pee Wee’s Big Adventure\u003c/em> comes to town this month with Pee Wee Herman himself (Paul Reubens) discussing the making of the film afterward. If you want a reminder of just how surreal American culture can be, I wholly recommend it. That’s on Friday, Feb. 28, at the Masonic in San Francisco. \u003ca href=\"https://sfmasonic.com/event/pee-wee-herman-big-adventure-35th-anniversary/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’ve been telling stories about pandemics for a very long time. From an eighth century BCE poem about a \u003ca href=\"https://en.wikipedia.org/wiki/Erra_(god)\" target=\"_blank\" rel=\"noopener noreferrer\">Babylonian plague god\u003c/a> to the Old Testament’s ten plagues of Egypt to, well, the AMC megahit zombie show \u003cem>The Walking Dead\u003c/em>, now in its tenth season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=79io403T1EM\u003c/p>\n\u003cp>Long ago, we understood mass outbreaks as divine punishment for human transgressions—but our stories about disease have changed over time. Although still fantastic, modern stories about disease tend to be rooted in political and social realities. Last year, the 800-page novel \u003cem>Wanderers\u003c/em> combined science fiction and horror with a techno-thriller focus on the rise of artificial intelligence and white nationalism in the aftermath of a pandemic. Author Chuck Wendig explains the appeal of writing a story where entire populations get sick and die: “Bringing these things into a book is like, you know, an ancient summoning. Summoning a demon into a summoning circle. Because that’s how you fight it.”\u003c/p>\n\u003cp>But how does fiction fight something like disease? In its own way, says writer and filmmaker Jeff Barnaby, by helping us make sense of the real world. Barnaby says today’s books, TV shows and movies based on pandemics explore how people live upon and move around a planet defined by compromised ecosystems, borders and barricades.\u003c/p>\n\u003cp>“You’re dealing with the aftermath of globalism,” he points out. “And I think you’re starting to see people make the link between how you treat the environment and the way the environment treats you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0hkO5UjSpw\u003c/p>\n\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4sYSyuuLk5g\u003c/p>\n\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d0hkO5UjSpw'\n title='//www.youtube.com/embed/d0hkO5UjSpw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\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/4sYSyuuLk5g'\n title='//www.youtube.com/embed/4sYSyuuLk5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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