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"title": "YouTube Star Nikkie de Jager Blackmailed Into Coming Out as Trans",
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"content": "\u003cp>YouTube beauty vlogger Nikkie de Jager, best known as \u003ca href=\"https://www.youtube.com/channel/UCzTKskwIc_-a0cGvCXA848Q\" target=\"_blank\" rel=\"noopener noreferrer\">NikkieTutorials\u003c/a>, was forced to come out to her 12.7 million subscribers this week after blackmailers threatened to reveal her trans status, she said.\u003c/p>\n\u003cp>The 17-minute Jan. 13 video, simply titled “\u003ca href=\"https://www.youtube.com/watch?v=QOOw2E_qAsE\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Coming Out\u003c/a>,” constitutes an emotional roller coaster as Nikkie talks candidly about her childhood sense of being female, her ultra-supportive mother and her teenage transition. Throughout, she expresses her nervousness about coming out, her joy at finally doing so and, most of all, her newfound feeling of liberation.\u003c/p>\n\u003cp>Toward the end of the video, she addresses the blackmail. “I’ve always wanted to share this side of myself with you. I just wanted to do it under my conditions,” she explains. “But… I have been blackmailed by people who wanted to leak my story to the press. At first it was frightening… It is vile and it is gross… They said they wanted to leak it because I’m lying or that I don’t want to tell my truth, or because they feel like I’m too scared for people to know who I truly am. I’m not scared.”\u003c/p>\n\u003cp>At press time, the video has received 17 million views in 20 hours, with fans overwhelmingly expressing love and support. @DyedLittlePrincess said, “I cried so much watching this. I’m so sorry your choice to announce this to the world was taken from you but you are such an incredibly strong, beautiful and inspirational woman. We love you endlessly.” @TinyKraken posted, “2014: I love this goddess and everything she does. 2020: I love this goddess and everything she does.” After the video posted, the number of subscribers on the NikkieTutorials page increased.\u003c/p>\n\u003cp>In the short clip, Nikkie—who has previously collaborated with the likes of Marc Jacobs Beauty, Sephora and Maybelline—succeeded in succinctly encapsulating both the difficulties trans people can face in their personal lives (she notes that she did not tell her fiancé sooner because she feared losing him), and the beauty and grace that accompanies outwardly becoming your authentic self. (By the end of the clip, Nikkie is laughing infectiously and singing Kesha’s “\u003ca href=\"https://www.youtube.com/watch?v=lXyA4MXKIKo\" target=\"_blank\" rel=\"noopener noreferrer\">Woman\u003c/a>.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you feel like you’re trapped and there’s no way out,” Nikkie concludes, “know that it gets better. Trust me. It gets better.”\u003c/p>\n\u003cp>You can watch Nikkie’s coming out video in full below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QOOw2E_qAsE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>YouTube beauty vlogger Nikkie de Jager, best known as \u003ca href=\"https://www.youtube.com/channel/UCzTKskwIc_-a0cGvCXA848Q\" target=\"_blank\" rel=\"noopener noreferrer\">NikkieTutorials\u003c/a>, was forced to come out to her 12.7 million subscribers this week after blackmailers threatened to reveal her trans status, she said.\u003c/p>\n\u003cp>The 17-minute Jan. 13 video, simply titled “\u003ca href=\"https://www.youtube.com/watch?v=QOOw2E_qAsE\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Coming Out\u003c/a>,” constitutes an emotional roller coaster as Nikkie talks candidly about her childhood sense of being female, her ultra-supportive mother and her teenage transition. Throughout, she expresses her nervousness about coming out, her joy at finally doing so and, most of all, her newfound feeling of liberation.\u003c/p>\n\u003cp>Toward the end of the video, she addresses the blackmail. “I’ve always wanted to share this side of myself with you. I just wanted to do it under my conditions,” she explains. “But… I have been blackmailed by people who wanted to leak my story to the press. At first it was frightening… It is vile and it is gross… They said they wanted to leak it because I’m lying or that I don’t want to tell my truth, or because they feel like I’m too scared for people to know who I truly am. I’m not scared.”\u003c/p>\n\u003cp>At press time, the video has received 17 million views in 20 hours, with fans overwhelmingly expressing love and support. @DyedLittlePrincess said, “I cried so much watching this. I’m so sorry your choice to announce this to the world was taken from you but you are such an incredibly strong, beautiful and inspirational woman. We love you endlessly.” @TinyKraken posted, “2014: I love this goddess and everything she does. 2020: I love this goddess and everything she does.” After the video posted, the number of subscribers on the NikkieTutorials page increased.\u003c/p>\n\u003cp>In the short clip, Nikkie—who has previously collaborated with the likes of Marc Jacobs Beauty, Sephora and Maybelline—succeeded in succinctly encapsulating both the difficulties trans people can face in their personal lives (she notes that she did not tell her fiancé sooner because she feared losing him), and the beauty and grace that accompanies outwardly becoming your authentic self. (By the end of the clip, Nikkie is laughing infectiously and singing Kesha’s “\u003ca href=\"https://www.youtube.com/watch?v=lXyA4MXKIKo\" target=\"_blank\" rel=\"noopener noreferrer\">Woman\u003c/a>.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you feel like you’re trapped and there’s no way out,” Nikkie concludes, “know that it gets better. Trust me. It gets better.”\u003c/p>\n\u003cp>You can watch Nikkie’s coming out video in full below:\u003c/p>\n\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/QOOw2E_qAsE'\n title='//www.youtube.com/embed/QOOw2E_qAsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "The Oscar Nominations: In With The Old, And 'Congratulations To Those Men'",
"headTitle": "The Oscar Nominations: In With The Old, And ‘Congratulations To Those Men’ | KQED",
"content": "\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Queer Eye\u003c/em>‘s inimitable grooming expert Jonathan Van Ness has a brand new children’s book coming out. And it’s all about none other than a nonbinary guinea pig.\u003c/p>\n\u003cp>Inspired by Van Ness’s own gender identity, as well as a beloved childhood pet, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062941008/peanut-goes-for-the-gold/\" target=\"_blank\" rel=\"noopener noreferrer\">Peanut Goes For the Gold\u003c/a> \u003c/em>is illustrated by \u003ca href=\"https://www.gillian-reid.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gillian Reid\u003c/a> and aimed at kids ages four through eight. Its title character is one fluffy nugget who finds joy in self-expression, personal flare and—\u003cem>of course!\u003c/em>—rhythmic gymnastics.\u003c/p>\n\u003cp>There have been an increasing number of wonderful \u003ca href=\"https://seattle.bibliocommons.com/list/share/114354577/940206117\" target=\"_blank\" rel=\"noopener noreferrer\">children’s books\u003c/a> about gender expression in the last few years, yet most have focused on the stories of trans girls and boys. \u003cem>Peanut Goes For The Gold\u003c/em> promises to stand next to the likes of \u003ca href=\"http://www.mayagonzalez.com/childrensbooks/call-me-tree/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Call Me Tree\u003c/em>\u003c/a> by Maya Christina Gonzalez, Theresa Thorn’s \u003ca href=\"https://us.macmillan.com/books/9781250302953\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It Feels Good to Be Yourself\u003c/em>\u003c/a> and \u003ca href=\"https://www.penguinrandomhouse.com/books/258466/lizard-radio-by-pat-schmatz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lizard Radio\u003c/em>\u003c/a> by Pat Schmatz—books that provide comfort and inspiration to nonbinary youngsters.\u003c/p>\n\u003cp>Love you love or hate Van Ness (and sorry, grouches, for most of us it’s the former), they bring an infectious jubilance to everything they do, whether it’s \u003ca href=\"https://www.youtube.com/watch?v=xfdDGHHBpsE\" target=\"_blank\" rel=\"noopener noreferrer\">trimming beards\u003c/a>, \u003ca href=\"https://www.instagram.com/p/B6bK3m2AQtE/\" target=\"_blank\" rel=\"noopener noreferrer\">learning to ice skate\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=XwkphfuXZos\" target=\"_blank\" rel=\"noopener noreferrer\">cheerleading with teenage girls\u003c/a>. \u003cem>Peanut Goes For the Gold\u003c/em> is sure to be no exception. The book comes out on March 31 via HarperCollins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Queer Eye\u003c/em>‘s inimitable grooming expert Jonathan Van Ness has a brand new children’s book coming out. And it’s all about none other than a nonbinary guinea pig.\u003c/p>\n\u003cp>Inspired by Van Ness’s own gender identity, as well as a beloved childhood pet, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062941008/peanut-goes-for-the-gold/\" target=\"_blank\" rel=\"noopener noreferrer\">Peanut Goes For the Gold\u003c/a> \u003c/em>is illustrated by \u003ca href=\"https://www.gillian-reid.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gillian Reid\u003c/a> and aimed at kids ages four through eight. Its title character is one fluffy nugget who finds joy in self-expression, personal flare and—\u003cem>of course!\u003c/em>—rhythmic gymnastics.\u003c/p>\n\u003cp>There have been an increasing number of wonderful \u003ca href=\"https://seattle.bibliocommons.com/list/share/114354577/940206117\" target=\"_blank\" rel=\"noopener noreferrer\">children’s books\u003c/a> about gender expression in the last few years, yet most have focused on the stories of trans girls and boys. \u003cem>Peanut Goes For The Gold\u003c/em> promises to stand next to the likes of \u003ca href=\"http://www.mayagonzalez.com/childrensbooks/call-me-tree/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Call Me Tree\u003c/em>\u003c/a> by Maya Christina Gonzalez, Theresa Thorn’s \u003ca href=\"https://us.macmillan.com/books/9781250302953\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It Feels Good to Be Yourself\u003c/em>\u003c/a> and \u003ca href=\"https://www.penguinrandomhouse.com/books/258466/lizard-radio-by-pat-schmatz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lizard Radio\u003c/em>\u003c/a> by Pat Schmatz—books that provide comfort and inspiration to nonbinary youngsters.\u003c/p>\n\u003cp>Love you love or hate Van Ness (and sorry, grouches, for most of us it’s the former), they bring an infectious jubilance to everything they do, whether it’s \u003ca href=\"https://www.youtube.com/watch?v=xfdDGHHBpsE\" target=\"_blank\" rel=\"noopener noreferrer\">trimming beards\u003c/a>, \u003ca href=\"https://www.instagram.com/p/B6bK3m2AQtE/\" target=\"_blank\" rel=\"noopener noreferrer\">learning to ice skate\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=XwkphfuXZos\" target=\"_blank\" rel=\"noopener noreferrer\">cheerleading with teenage girls\u003c/a>. \u003cem>Peanut Goes For the Gold\u003c/em> is sure to be no exception. The book comes out on March 31 via HarperCollins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Before 'Gretel & Hansel': Exploring the Real-Life History of the Fairytale",
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"content": "\u003cp>A new movie version of \u003cem>Hansel & Gretel\u003c/em> hits theaters this month and, unlike the children’s adaptations we’ve grown accustomed to, it is very much a horror film. \u003cem>Gretel & Hansel\u003c/em> is the logical evolution for a story that’s terrified children and adults alike since the 14th century. What’s more, it continues a long tradition of shifting the story’s narrative in order to reflect, and better suit, the era in which it reemerges.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QZblQLhKcZQ\u003c/p>\n\u003cp>Perhaps unsurprisingly, this tale about siblings being abandoned by their parents in the forest, enticed to the home of a witch and then almost eaten by her, the roots of \u003cem>Hansel & Gretel\u003c/em> spring from shocking real-life horror.\u003c/p>\n\u003cp>The story’s origins have been traced back to the \u003ca href=\"https://en.wikipedia.org/wiki/Great_Famine_of_1315%E2%80%931317\" target=\"_blank\" rel=\"noopener noreferrer\">Great Famine\u003c/a> that started in 1315 and killed millions across Europe. At the time, conditions were so dire and starvation was so widespread that parents were known to \u003ca href=\"https://www.pookpress.co.uk/project/hansel-and-gretel-history/\" target=\"_blank\" rel=\"noopener noreferrer\">abandon their own children\u003c/a>, either to fend for themselves or simply to die. There were also rumors of cannibalism during the period as people struggled to survive. As such, when \u003cem>Hansel & Gretel\u003c/em> first circulated, there was nothing particularly fantastical about a story of “terribly hungry” disowned children nearly being eaten by a frightening stranger.\u003c/p>\n\u003cp>The tale proved so compelling that it was passed from generation to generation via oral traditions until the Brothers Grimm finally \u003ca href=\"https://study.com/academy/lesson/hansel-gretel-setting.html\" target=\"_blank\" rel=\"noopener noreferrer\">immortalized it\u003c/a> in print in 1812. It took less than 50 years, however, for their \u003ca href=\"https://nationalpost.com/life/parenting/something-wicked-this-way-comes-how-real-life-stepmothers-are-battling-centuries-of-fiction-to-overcome-stereotypes\" target=\"_blank\" rel=\"noopener noreferrer\">original version\u003c/a> to undergo some significant updates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the time the \u003ca href=\"https://www.pitt.edu/~dash/grimm015a.html\" target=\"_blank\" rel=\"noopener noreferrer\">final Grimm edition\u003c/a> emerged in 1857, the idea of parents leaving their own children alone in the woods had simply become too taboo to retain—even in a tale that featured attempted cannibalism. As such, all subsequent editions transformed Hansel and Gretel’s coldly practical mother into an overtly abusive stepmother. And their father—already unsure of abandoning his kids in the original story—was presented in a more sympathetic light, thanks to added lines of dialogue, including, early on: “I do feel sorry for the poor children.”\u003c/p>\n\u003cp>Through the decades as we’ve continued to tell the story, small but key details like these have changed to reflect shifting cultural sensibilities. In the composer Engelbert Humperdinck’s 1893 opera \u003ca href=\"https://www.youtube.com/watch?v=JnMEI4aoUfo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hänsel und Gretel\u003c/em>\u003c/a>, for example, the children’s mother was still present and still cold (threatening the kids for not doing their chores and such) but she only sent them into the forest to pick strawberries. That’s quite the leap away from escorting them there to die.\u003c/p>\n\u003cp>By the time \u003ca href=\"https://www.youtube.com/watch?v=GT5Rq_QSk-Y\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Harryhausen’s stop-motion rendition of \u003cem>Hansel & Gretel\u003c/em>\u003c/a> appeared in TV in 1951, the children were going into the forest entirely of their own accord, in order to forage for food to help their stressed-out single father. In this \u003cem>Hansel and Gretel\u003c/em>, the kids were simply performing a selfless deed for their family—and their bravery was rewarded with “gold, silver and precious jewels.” The lesson in this version was about familial bonds, not betrayal—a reflection of the family values of the early ’50s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GT5Rq_QSk-Y\u003c/p>\n\u003cp>In 1983, when Faerie Tale Theatre created \u003ca href=\"https://www.youtube.com/watch?v=S3FEZsyR0Eg\" target=\"_blank\" rel=\"noopener noreferrer\">a version for television\u003c/a>, the moral became even further simplified, with Shelley Duvall introducing the production as a story “about a little boy and girl who learn not to take candy from strangers”—a parable of the prevailing “stranger danger” message for youngsters in the 1980s.\u003c/p>\n\u003cp>The new millennium brought several surefire signals of filmmakers’ struggle to make \u003cem>Hansel & Gretel\u003c/em> make sense for modern audiences. A 2002 movie version starring Dakota Fanning and Taylor Momsen rounded down the story’s sharpest edges by introducing heavy-handed comedic elements and goofy new characters, including Howie Mandel as “The Sandman.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TPP_Pz5YKMI\u003c/p>\n\u003cp>But that’s nothing compared to what happened in 2013. That year, the world ended up with both \u003ca href=\"https://www.imdb.com/title/tt1428538/?ref_=nv_sr_srsg_4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel: Witch Hunters\u003c/em>\u003c/a> (a Jeremy Renner-starring vehicle in which the children are all grown up and hunting the source of their nightmares) and \u003ca href=\"https://www.imdb.com/title/tt2081194/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel Get Baked\u003c/em>\u003c/a> (a stoner movie best forgotten entirely).\u003c/p>\n\u003cp>While movie adaptations were struggling, in 2014 Neil Gaiman and illustrator Lorenzo Mattotti successfully transformed \u003cem>Hansel & Gretel\u003c/em> into a current-day story about refugees surviving war. Their book collaboration succeeded in bringing a grim reality back to the story that had become almost entirely absent in the preceding decades. “In the early Grimms’ versions, there was famine,” \u003ca href=\"http://amanpour.blogs.cnn.com/2014/09/30/bestselling-author-neil-gaiman-recounts-visiting-syrian-refugees/\" target=\"_blank\" rel=\"noopener noreferrer\">Gaiman told CNN\u003c/a> at the time. “Talking to some of the Syrian refugees who ran out of food, telling me about getting permission from their imam to eat cats and dogs because all the other animals had gone—about eating grass, drinking swamp water—I thought, ‘This is \u003cem>Hansel & Gretel\u003c/em> now.’”\u003c/p>\n\u003cp>While we are undoubtedly far better off in 2020 than in the Great Famine of 1315 that originally birthed this story, it makes sense now for a new \u003cem>Hansel & Gretel\u003c/em> to be rooted in horror. With America in the midst of thousands of child separations at the border, a light-hearted narrative in which parents voluntarily abandon their children would be insensitive at best. And while the nation is far from famine, hunger is a real and present danger for \u003ca href=\"https://en.wikipedia.org/wiki/Poverty_in_the_United_States\" target=\"_blank\" rel=\"noopener noreferrer\">millions of American children\u003c/a> right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As long as the dark 700-year-old story of \u003cem>Hansel & Gretel\u003c/em> keeps being reinvented, it will always reflect the times. The fact that it’s returned to its medieval roots this year? That’s a development that should probably give us all pause.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new movie version of \u003cem>Hansel & Gretel\u003c/em> hits theaters this month and, unlike the children’s adaptations we’ve grown accustomed to, it is very much a horror film. \u003cem>Gretel & Hansel\u003c/em> is the logical evolution for a story that’s terrified children and adults alike since the 14th century. What’s more, it continues a long tradition of shifting the story’s narrative in order to reflect, and better suit, the era in which it reemerges.\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/QZblQLhKcZQ'\n title='//www.youtube.com/embed/QZblQLhKcZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps unsurprisingly, this tale about siblings being abandoned by their parents in the forest, enticed to the home of a witch and then almost eaten by her, the roots of \u003cem>Hansel & Gretel\u003c/em> spring from shocking real-life horror.\u003c/p>\n\u003cp>The story’s origins have been traced back to the \u003ca href=\"https://en.wikipedia.org/wiki/Great_Famine_of_1315%E2%80%931317\" target=\"_blank\" rel=\"noopener noreferrer\">Great Famine\u003c/a> that started in 1315 and killed millions across Europe. At the time, conditions were so dire and starvation was so widespread that parents were known to \u003ca href=\"https://www.pookpress.co.uk/project/hansel-and-gretel-history/\" target=\"_blank\" rel=\"noopener noreferrer\">abandon their own children\u003c/a>, either to fend for themselves or simply to die. There were also rumors of cannibalism during the period as people struggled to survive. As such, when \u003cem>Hansel & Gretel\u003c/em> first circulated, there was nothing particularly fantastical about a story of “terribly hungry” disowned children nearly being eaten by a frightening stranger.\u003c/p>\n\u003cp>The tale proved so compelling that it was passed from generation to generation via oral traditions until the Brothers Grimm finally \u003ca href=\"https://study.com/academy/lesson/hansel-gretel-setting.html\" target=\"_blank\" rel=\"noopener noreferrer\">immortalized it\u003c/a> in print in 1812. It took less than 50 years, however, for their \u003ca href=\"https://nationalpost.com/life/parenting/something-wicked-this-way-comes-how-real-life-stepmothers-are-battling-centuries-of-fiction-to-overcome-stereotypes\" target=\"_blank\" rel=\"noopener noreferrer\">original version\u003c/a> to undergo some significant updates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time the \u003ca href=\"https://www.pitt.edu/~dash/grimm015a.html\" target=\"_blank\" rel=\"noopener noreferrer\">final Grimm edition\u003c/a> emerged in 1857, the idea of parents leaving their own children alone in the woods had simply become too taboo to retain—even in a tale that featured attempted cannibalism. As such, all subsequent editions transformed Hansel and Gretel’s coldly practical mother into an overtly abusive stepmother. And their father—already unsure of abandoning his kids in the original story—was presented in a more sympathetic light, thanks to added lines of dialogue, including, early on: “I do feel sorry for the poor children.”\u003c/p>\n\u003cp>Through the decades as we’ve continued to tell the story, small but key details like these have changed to reflect shifting cultural sensibilities. In the composer Engelbert Humperdinck’s 1893 opera \u003ca href=\"https://www.youtube.com/watch?v=JnMEI4aoUfo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hänsel und Gretel\u003c/em>\u003c/a>, for example, the children’s mother was still present and still cold (threatening the kids for not doing their chores and such) but she only sent them into the forest to pick strawberries. That’s quite the leap away from escorting them there to die.\u003c/p>\n\u003cp>By the time \u003ca href=\"https://www.youtube.com/watch?v=GT5Rq_QSk-Y\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Harryhausen’s stop-motion rendition of \u003cem>Hansel & Gretel\u003c/em>\u003c/a> appeared in TV in 1951, the children were going into the forest entirely of their own accord, in order to forage for food to help their stressed-out single father. In this \u003cem>Hansel and Gretel\u003c/em>, the kids were simply performing a selfless deed for their family—and their bravery was rewarded with “gold, silver and precious jewels.” The lesson in this version was about familial bonds, not betrayal—a reflection of the family values of the early ’50s.\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/GT5Rq_QSk-Y'\n title='//www.youtube.com/embed/GT5Rq_QSk-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1983, when Faerie Tale Theatre created \u003ca href=\"https://www.youtube.com/watch?v=S3FEZsyR0Eg\" target=\"_blank\" rel=\"noopener noreferrer\">a version for television\u003c/a>, the moral became even further simplified, with Shelley Duvall introducing the production as a story “about a little boy and girl who learn not to take candy from strangers”—a parable of the prevailing “stranger danger” message for youngsters in the 1980s.\u003c/p>\n\u003cp>The new millennium brought several surefire signals of filmmakers’ struggle to make \u003cem>Hansel & Gretel\u003c/em> make sense for modern audiences. A 2002 movie version starring Dakota Fanning and Taylor Momsen rounded down the story’s sharpest edges by introducing heavy-handed comedic elements and goofy new characters, including Howie Mandel as “The Sandman.”\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/TPP_Pz5YKMI'\n title='//www.youtube.com/embed/TPP_Pz5YKMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But that’s nothing compared to what happened in 2013. That year, the world ended up with both \u003ca href=\"https://www.imdb.com/title/tt1428538/?ref_=nv_sr_srsg_4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel: Witch Hunters\u003c/em>\u003c/a> (a Jeremy Renner-starring vehicle in which the children are all grown up and hunting the source of their nightmares) and \u003ca href=\"https://www.imdb.com/title/tt2081194/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel Get Baked\u003c/em>\u003c/a> (a stoner movie best forgotten entirely).\u003c/p>\n\u003cp>While movie adaptations were struggling, in 2014 Neil Gaiman and illustrator Lorenzo Mattotti successfully transformed \u003cem>Hansel & Gretel\u003c/em> into a current-day story about refugees surviving war. Their book collaboration succeeded in bringing a grim reality back to the story that had become almost entirely absent in the preceding decades. “In the early Grimms’ versions, there was famine,” \u003ca href=\"http://amanpour.blogs.cnn.com/2014/09/30/bestselling-author-neil-gaiman-recounts-visiting-syrian-refugees/\" target=\"_blank\" rel=\"noopener noreferrer\">Gaiman told CNN\u003c/a> at the time. “Talking to some of the Syrian refugees who ran out of food, telling me about getting permission from their imam to eat cats and dogs because all the other animals had gone—about eating grass, drinking swamp water—I thought, ‘This is \u003cem>Hansel & Gretel\u003c/em> now.’”\u003c/p>\n\u003cp>While we are undoubtedly far better off in 2020 than in the Great Famine of 1315 that originally birthed this story, it makes sense now for a new \u003cem>Hansel & Gretel\u003c/em> to be rooted in horror. With America in the midst of thousands of child separations at the border, a light-hearted narrative in which parents voluntarily abandon their children would be insensitive at best. And while the nation is far from famine, hunger is a real and present danger for \u003ca href=\"https://en.wikipedia.org/wiki/Poverty_in_the_United_States\" target=\"_blank\" rel=\"noopener noreferrer\">millions of American children\u003c/a> right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As long as the dark 700-year-old story of \u003cem>Hansel & Gretel\u003c/em> keeps being reinvented, it will always reflect the times. The fact that it’s returned to its medieval roots this year? That’s a development that should probably give us all pause.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises",
"headTitle": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises | KQED",
"content": "\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v6r6h8oAJw\u003c/p>\n\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-g44lDWyJC0\u003c/p>\n\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU3Hq_UgHE4\u003c/p>\n\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\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=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\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/8v6r6h8oAJw'\n title='//www.youtube.com/embed/8v6r6h8oAJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-g44lDWyJC0'\n title='//www.youtube.com/embed/-g44lDWyJC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\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/ZU3Hq_UgHE4'\n title='//www.youtube.com/embed/ZU3Hq_UgHE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\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=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1395&v=d_P8V6KPnoc&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In all my years, I’ve never played a video game in which the main character was a mother. Not until the other day, that is, when I walked into Oakland’s \u003ca href=\"https://youthimpacthub.unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Impact Hub\u003c/a>.\u003c/p>\n\u003cp>The center, located on 28th and Telegraph and run by \u003ca href=\"https://unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Roots\u003c/a>, is home to a number of youth-focused activities and organizations. I was there to check out one of them in particular: \u003ca href=\"http://gameheadsoakland.org/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gameheads\u003c/a>, which teaches young folks how to create video games.\u003c/p>\n\u003cp>Some of the organization’s students—Marisa Diaz, Rebecca Taylor, Veronica Guzman, Angelina Perez and Brittany Medina—recently combined forces and created a game called \u003cem>Te Amo Mama\u003c/em>, in which the gamer plays the role of a mother hen, guiding her baby chick through every obstacle-laden stage of life.\u003c/p>\n\u003cp>“It’s frustrating!” I said, not too long after getting on the sticks, realizing that just trying to get your offspring to \u003cem>listen\u003c/em> to you is a challenge in itself.\u003c/p>\n\u003cp>They told me that’s the point. They want young folks to understand how difficult it is to be a mother. They also told me that the character of the hen was important, since it’s emblematic of maternal power, especially in Latinx households.\u003c/p>\n\u003cp>They’re set to unveil the game at a number of places in the near future. To hear all about the game before it’s launched, hit the link above.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Oct 13, 2019. To subscribe for more episodes of ‘Rightnowish,’ see the podcast page \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In all my years, I’ve never played a video game in which the main character was a mother. Not until the other day, that is, when I walked into Oakland’s \u003ca href=\"https://youthimpacthub.unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Impact Hub\u003c/a>.\u003c/p>\n\u003cp>The center, located on 28th and Telegraph and run by \u003ca href=\"https://unitedrootsoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Roots\u003c/a>, is home to a number of youth-focused activities and organizations. I was there to check out one of them in particular: \u003ca href=\"http://gameheadsoakland.org/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gameheads\u003c/a>, which teaches young folks how to create video games.\u003c/p>\n\u003cp>Some of the organization’s students—Marisa Diaz, Rebecca Taylor, Veronica Guzman, Angelina Perez and Brittany Medina—recently combined forces and created a game called \u003cem>Te Amo Mama\u003c/em>, in which the gamer plays the role of a mother hen, guiding her baby chick through every obstacle-laden stage of life.\u003c/p>\n\u003cp>“It’s frustrating!” I said, not too long after getting on the sticks, realizing that just trying to get your offspring to \u003cem>listen\u003c/em> to you is a challenge in itself.\u003c/p>\n\u003cp>They told me that’s the point. They want young folks to understand how difficult it is to be a mother. They also told me that the character of the hen was important, since it’s emblematic of maternal power, especially in Latinx households.\u003c/p>\n\u003cp>They’re set to unveil the game at a number of places in the near future. To hear all about the game before it’s launched, hit the link above.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Oct 13, 2019. To subscribe for more episodes of ‘Rightnowish,’ see the podcast page \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "50 Wonderful Things From 2019",
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"content": "\u003cp>Standard caveats (really standard—same as \u003ca href=\"https://www.npr.org/2018/12/27/679839731/50-wonderful-things-from-2018\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/27/570931638/50-wonderful-things-from-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a>): I don’t watch everything. I am behind on many things. That’s just the way the world is. So if something you loved isn’t here, it is not a rebuke.\u003c/p>\n\u003cp>And: These are cultural, mostly pop-cultural, things. These are not the best things in the world. Like yours, my actual list of wonderful things from the year, if I wrote it in a journal instead of for work, would be a list of people and moments spent with them—of days when it was unexpectedly sunny and of times when things suddenly felt better. But whatever journey you’re on at any given moment, you can always use more good things. So here we go.\u003c/p>\n\u003cp>1. \u003cstrong>The \u003c/strong>\u003cstrong>\u003cem>Knives Out \u003c/em>\u003c/strong>\u003cstrong>sculpture. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\" target=\"_blank\" rel=\"noopener noreferrer\">We’ve talked about\u003c/a> the sweaters in Rian Johnson’s great whodunit, and about the performances, and about the … uh, commitment? … of Daniel Craig’s very silly accent. But let’s also appreciate the \u003ca href=\"https://www.npr.org/2019/11/26/782904344/get-a-clue-go-see-knives-out\" target=\"_blank\" rel=\"noopener noreferrer\">enormous sculpture\u003c/a> made of knives that frames the heads of every member of the family as they’re interviewed.\u003c/p>\n\u003cp>2. \u003cstrong>James Marsden jumping on the trampoline in \u003c/strong>\u003cstrong>\u003cem>Dead to Me\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> James Marsden is one of those interesting actors who can do so many different things well that he’s easy to take for granted. It’s a mistake, though. Playing a slick, inspirational-speaking jerk, he wakes up, goes out on his balcony and executes a series of silly trampoline moves he says are meant to “get [his] lymph nodes going.”\u003c/p>\n\u003cp>3. \u003cstrong>John Mulaney’s plaid pants in the “Co-op” episode of \u003c/strong>\u003cstrong>\u003cem>Documentary Now\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>The comedian’s wardrobe choices have showed up on this list before, but they’ve never been quite so indelible as his weirdly magnetic ’70s get-up as \u003cem>Documentary Now\u003c/em>‘s \u003ca href=\"https://www.npr.org/2019/02/27/698126773/the-show-tunes-and-plaid-pants-of-the-documentary-now-sondheim-send-up\" target=\"_blank\" rel=\"noopener noreferrer\">version of Stephen Sondheim\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KMpuoSB8HA\u003c/p>\n\u003cp>4. \u003cstrong>“This is a love story” in \u003c/strong>\u003cstrong>\u003cem>Fleabag\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>We were all so lucky to get two seasons of Phoebe Waller-Bridge’s masterpiece, and \u003ca href=\"https://www.youtube.com/watch?v=jPaEqk3kVjo\" target=\"_blank\" rel=\"noopener noreferrer\">the turn to camera to say\u003c/a> “this is a love story” set up the brilliant second season with intrigue, humor and Waller-Bridge’s inimitable kind of heart. The sequence of shots is so brilliant, and the entire episode so satisfying. We’ll be lucky to see its equal.\u003c/p>\n\u003cp>5.\u003cstrong> Aasif Mandvi in \u003c/strong>\u003cstrong>\u003cem>This Way Up. \u003c/em>\u003c/strong>Aisling Bea’s \u003ca href=\"https://www.npr.org/2019/08/21/752811433/this-way-up-deserves-a-spot-on-your-crowded-viewing-list\" target=\"_blank\" rel=\"noopener noreferrer\">series about a young Irish woman\u003c/a> fresh out of mental health treatment offered a lot of simple pleasures. But one was seeing Aasif Mandvi, who was very funny on \u003cem>The Daily Show\u003c/em> and plays an awful lot of doctors because Hollywood is Hollywood, play the boyfriend of the character played by Sharon Horgan. A fine romantic lead, Mandvi got to show some chops that I personally hadn’t seen very much before, and it was thrilling.\u003c/p>\n\u003cp>6. \u003cstrong>Natasha Lyonne killing it in \u003c/strong>\u003cstrong>\u003cem>Russian Doll\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Natasha Lyonne is a force, and this performance (and her work in \u003ca href=\"https://www.npr.org/2019/02/01/690276468/natasha-lyonne-anchors-the-riveting-russian-doll\" target=\"_blank\" rel=\"noopener noreferrer\">creating the show\u003c/a>) is a force. May everyone find such a perfect place to be at the peak of their powers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YHcKoAMGGvY\u003c/p>\n\u003cp>7. \u003cstrong>J. Smith-Cameron in \u003c/strong>\u003cstrong>\u003cem>Succession\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>There is so much to admire about \u003ca href=\"https://www.npr.org/2019/08/12/750189331/succession-back-to-the-pit-of-vipers-for-another-season-of-discontent\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s rich-jerks drama\u003c/a>, but one of the real stars of Season 2 was J. Smith-Cameron as Gerri, one of the Roy family’s faithful lieutenants. Once mostly a figure in meetings hovering over paperwork, Gerri ended Season 2 with a sharper sense of humor, a more distinct role in the family, a star turn at the Roy Family [Figurative] Murder Breakfast and a sexual relationship-ish that’s both offbeat and sweet.\u003c/p>\n\u003cp>8.\u003cstrong> The big resolution in \u003c/strong>\u003cstrong>\u003cem>Unbelievable\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>It wouldn’t be fair to say much about the photo that loads late in \u003ca href=\"https://www.npr.org/2019/10/01/766049015/unbelievable-is-a-searing-drama-about-violence-and-justice\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix’s fact-based series\u003c/a> about an unsolved rape case, but making a plot turn feel so simultaneously satisfying and wrenching is very difficult. And while the series largely belongs to performances from Kaitlyn Dever, Merritt Wever and Toni Collette, you’d be hard-pressed to find a better wordless 30 seconds in all of 2020 than the ones Eric Lange, playing a detective, delivers early in the last episode when this scene hits.\u003c/p>\n\u003cp>9. \u003cstrong>The manipulation of time in \u003c/strong>\u003cstrong>\u003cem>Watchmen\u003c/em>\u003c/strong>\u003cstrong> episode 6. \u003c/strong>The first—and maybe the only—season of HBO’s \u003cem>Watchmen \u003c/em>was excellent throughout, but it reached a new high in the sixth episode, as interwoven past and present stories created connections that were surprising, but seemed somehow inevitable.\u003c/p>\n\u003cp>10.\u003cstrong> Billy Crudup in \u003c/strong>\u003cstrong>\u003cem>The Morning Show\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> I’m among those who believe that Apple TV+’s first big series, about the aftermath of a sexual harassment scandal on a network morning show, got a rougher reception than it deserved—partly because it takes a couple of episodes to find its feet and focus. But even many of those who remained unimpressed by it found kind words for the snake-like, inscrutable, toothy and toothsome performance by Billy Crudup as a network executive who could do good only when it meant doing well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cf7N_j6Uvkg\u003c/p>\n\u003cp>11. \u003cstrong>The turn in \u003c/strong>\u003cstrong>\u003cem>Parasite\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I was very lucky to see Bong Joon-ho’s fabulous, complex film at the Toronto International Film Festival without knowing almost anything about it. I didn’t even really know what \u003cem>kind \u003c/em>of movie it was, and that was as it should be.\u003c/p>\n\u003cp>12.\u003cstrong> Jeremy Bearimy, baby. \u003c/strong>At the end of the third season of NBC’s \u003cem>The Good Place\u003c/em>, the conscientious, anxious, deeply moral Chidi (William Jackson Harper) and his partner-in-crime Eleanor (Kristen Bell) are forced to part company. After being reminded that theirs is a story that spans many lifetimes, Chidi uses what was once a silly, jokey phrase about the structure of time to make a profoundly romantic declaration, telling Eleanor that they will “chill out in the dot of the i forever.” That this means nothing if you haven’t \u003ca href=\"https://www.npr.org/2019/09/26/764229236/the-good-place-starts-its-final-approach\" target=\"_blank\" rel=\"noopener noreferrer\">watched the show\u003c/a>, and everything if you have, is what makes it so distinct and moving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RFm9ClqlGuo\u003c/p>\n\u003cp>13.\u003cstrong> Jennifer Lopez’s dance in \u003c/strong>\u003cstrong>\u003cem>Hustlers\u003c/em>\u003c/strong>\u003cstrong>, and the accompanying video. \u003c/strong>I don’t disagree with the many people who have said J. Lo should be in the running for awards for her performance in Lorene Scafaria’s crime drama. But that doesn’t mean I don’t also appreciate the athleticism of Lopez’s first dance on the pole, as well as the \u003ca href=\"https://www.youtube.com/watch?v=pRhOWrk5_NM\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes look\u003c/a> at her training that she shared.\u003c/p>\n\u003cp>14.\u003cstrong> Every time Christian Siriano said “You’re killing me” on \u003c/strong>\u003cstrong>\u003cem>Project Runway\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>A great example of \u003ca href=\"https://www.npr.org/2019/06/14/732423982/project-runway-proves-change-can-be-healthy\" target=\"_blank\" rel=\"noopener noreferrer\">how to reset\u003c/a> a competitive reality show, Siriano was the perfect new mentor, and the way he freely expressed his frustration with the designers was one of his secret weapons. (See also: “You’re putting a zipper right on the boob?”)\u003c/p>\n\u003cp>15. \u003cstrong>\u003cem>Oklahoma! \u003c/em>\u003c/strong>It’s not that \u003cem>Oklahoma! \u003c/em>hasn’t always been a dark musical—it has. But the Broadway revival I got to see this spring brought out new layers of darkness, new kinds of bleakness. The finale—which I will not describe—is one of the most startling, provocative stage moments I’ve ever seen, particularly working from such a well-known text. (Bonus: Soraya McDonald’s \u003ca href=\"https://theundefeated.com/features/the-unbearable-whiteness-of-oklahoma-on-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">excellent piece\u003c/a> at \u003cem>The Undefeated\u003c/em> about the production.)\u003c/p>\n\u003cp>16. \u003cstrong>\u003cem>What The Constitution Means to Me. \u003c/em>\u003c/strong>Heidi Schreck shook up the \u003ca href=\"https://www.npr.org/2019/03/30/707858702/staging-a-debate-over-what-the-constitution-means-to-me\" target=\"_blank\" rel=\"noopener noreferrer\">one-woman show\u003c/a> with her combination of speech, debate, dramatic monologue and call to arms. The piece is so smart and thoughtful that it’s easy to forget, when describing it, that it’s also funny and entertaining—enlivened by a late development that had the audience I was part of enthralled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W3GV1K2nctM\u003c/p>\n\u003cp>17. \u003cstrong>The horse fight in \u003c/strong>\u003cstrong>\u003cem>John Wick: Chapter 3—Parabellum\u003c/em>\u003c/strong>. The biggest problem with any John Wick movie, I now believe, is that it can’t be all Keanu Reeves fighting bad guys using horses and library books.\u003c/p>\n\u003cp>18. \u003cstrong>The way \u003c/strong>\u003cstrong>\u003cem>Crazy Ex-Girlfriend\u003c/em>\u003c/strong>\u003cstrong> landed the plane. \u003c/strong>It’s so hard to end a show as ambitious as \u003cem>Crazy Ex-Girlfriend\u003c/em>—particularly when it set itself up as, in part, a romantic-comedy spoof and then demonstrated that a romantic-comedy ending would be an utter betrayal of its first principles. The final episode showed respect to Rebecca’s desire to be loved; her growth as a person; the musical talent that’s been under our noses the entire time; and the fact that no matter how much she works to improve herself, White Josh will never, ever like her. Extra points for the way that, as the show wound down, co-creator and star Rachel Bloom \u003ca href=\"https://twitter.com/lindaholmes/status/1105976011487879169\" target=\"_blank\" rel=\"noopener noreferrer\">sold it like double the rent was due at all times\u003c/a>.\u003c/p>\n\u003cp>19.\u003cstrong> The unreal, unsettling doppelgangers in \u003c/strong>\u003cstrong>\u003cem>Us\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Doppelgangers are such a staple of horror that to make them really, genuinely scary, you have to develop their look and style in a very particular way—\u003ca href=\"https://www.npr.org/2019/03/22/705875221/jordan-peele-looked-into-the-mirror-and-saw-the-evil-inside-us\" target=\"_blank\" rel=\"noopener noreferrer\">as Jordan Peele did\u003c/a> in \u003cem>Us\u003c/em>. Led by Lupita Nyong’o as Red, the family of copies that shows up in their red jumpsuits, with their scissors and obviously ill intentions, use their stillness as a weapon, settling for “creepy” until it’s time to be worse than that.\u003c/p>\n\u003cp>20. \u003cstrong>The “Anna Ishii-Peters” episode of \u003c/strong>\u003cstrong>\u003cem>PEN15\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I’m not sure why stories in which teenagers bond with each other’s families are so consistently moving, but “Anna Ishii-Peters” follows in the tradition of \u003cem>My So-Called Life\u003c/em> and its “Other People’s Mothers” episode to great effect. \u003cem>PEN15 \u003c/em>is a lovely, thoughtful, \u003ca href=\"https://www.npr.org/2019/02/11/691694798/looking-at-middle-school-through-grown-up-glasses-in-pen15\" target=\"_blank\" rel=\"noopener noreferrer\">big-hearted look at adolescence\u003c/a>—in addition to being a raunchy, candid document of the kind of body horror that only happens in middle school.\u003c/p>\n\u003cp>21. \u003cstrong>The third season of the podcast \u003c/strong>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong> New host \u003ca href=\"https://www.npr.org/2019/11/07/776908450/slow-burn-season-3-turns-its-investigative-eye-to-the-murders-of-biggie-and-tupa\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Anderson takes listeners through\u003c/a> two of the most famous (officially) unsolved murders of the 20th century: those of rappers Tupac Shakur and Biggie Smalls. Finding the line between overexplaining and underexplaining, the series (in the manner of all good true crime) moves beyond its specific subjects to talk about how rap was developing in the 1990s, and how it was changed by the deaths of these two very young men.\u003c/p>\n\u003cp>22. \u003cem>\u003cstrong>Bon Appétit\u003c/strong>\u003c/em>\u003cstrong> videos! \u003c/strong>Few instructional YouTube channels are as beloved and useful as the one from \u003cem>Bon Appétit\u003c/em>, which has almost five million subscribers. It contains plenty of straight-up how-to pieces, but continues to innovate with series like Reverse Engineering, a monthly show in which deputy food editor Chris Morocco tries to recreate dishes he’s allowed to taste and touch but not see. \u003ca href=\"https://www.youtube.com/channel/UCbpMy0Fg74eXXkvxJrtEn3w\" target=\"_blank\" rel=\"noopener noreferrer\">The whole channel\u003c/a> is a pleasure from start to finish, and its passionate following is well-earned.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rE4KHYrWEXY\u003c/p>\n\u003cp>23. \u003cstrong>The synchronized swimming in \u003c/strong>\u003cstrong>\u003cem>The Marvelous Mrs. Maisel. \u003c/em>\u003c/strong>The adventures of Midge Maisel have sometimes satisfied and sometimes not. But a stretch of the third season set in Miami was full of delights, including an opening sequence in the sixth episode that incorporated underwater filming, synchronized swimming and the hangover from a night out with Lenny Bruce. Great stuff.\u003c/p>\n\u003cp>24. \u003cstrong>The end of \u003c/strong>\u003cem>\u003cstrong>Again With This: BH\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>Back in May 2015, Sarah Bunting and Tara Ariano—who were, full disclosure, my bosses at\u003cem> Television Without Pity \u003c/em>for years—began \u003ca href=\"https://www.againwiththis90210.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast project\u003c/a> to recap each episode of \u003cem>Beverly Hills, 90210 \u003c/em>one at a time. That dumb show, it turns out, ran for 10 seasons, most of which were supersized, because it ran well into the summer. (There are seasons that have more than 30 episodes.) In December of this year, they finished. Not only was this a nutty exercise in completism, but taking the time to examine individual episodes late in the run of a show that had long since given up on itself offers a rare glimpse at what network television used to look like when it just wanted to run out the clock.\u003c/p>\n\u003cp>25. \u003cstrong>\u003cem>The Inventor: Out for Blood in Silicon Valley. \u003c/em>\u003c/strong>2019 was \u003ca href=\"https://www.npr.org/2019/04/30/718663783/elizabeth-holmes-and-theranos-in-pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">The Year When We Talked A Lot About Theranos\u003c/a>, the company run by Elizabeth Holmes, who’s now awaiting a federal fraud trial. There are a lot of ways to learn about the story—the 2018 book \u003cem>Bad Blood \u003c/em>\u003ca href=\"https://www.npr.org/2018/06/23/622795416/reporter-john-carreyrou-on-the-bad-blood-of-theranos\" target=\"_blank\" rel=\"noopener noreferrer\">by John Carreyrou\u003c/a> is probably the best source document. But Alex Gibney’s 2019 HBO documentary is also a corker, for sure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wtDaP18OGfw\u003c/p>\n\u003cp>26.\u003cstrong> The moment in Mike Birbiglia’s \u003c/strong>\u003cstrong>\u003cem>The New One\u003c/em>\u003c/strong>\u003cstrong> that you’ll know when you see it. \u003c/strong>You don’t necessarily expect a one-man show to have a twist. But Birbiglia’s show about raising children and buying furniture, which is now available on Netflix, uses surprise better than any show like it that I’ve ever seen.\u003c/p>\n\u003cp>27.\u003cstrong>\u003cem> We Cast a Shadow\u003c/em>\u003c/strong>\u003cstrong>, by Maurice Carlos Ruffin\u003c/strong>. \u003ca href=\"https://www.npr.org/2019/01/30/689747338/in-we-cast-a-shadow-the-horrors-are-close-to-home\" target=\"_blank\" rel=\"noopener noreferrer\">A book about \u003c/a>race, class, parenting and the future, \u003cem>We Cast A Shadow \u003c/em>is the book about which I was proud to simply announce: “This book knocked me on my ass.”\u003c/p>\n\u003cp>28.\u003cstrong> Points of view in \u003c/strong>\u003cstrong>\u003cem>Fleishman Is in Trouble\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\" target=\"_blank\" rel=\"noopener noreferrer\">Taffy Brodesser-Akner’s divorce novel\u003c/a> is incisive on the ideas of family and relationships, to be sure. But what impressed me most was how pointed I found its implicit critiques of the modern American literary novel—as focused as it often is on sad men and their sad stories and their sad struggles, with no room for anyone else to speak.\u003c/p>\n\u003cp>29. \u003cstrong>The audiobook presentation of \u003c/strong>\u003cstrong>\u003cem>The Beastie Boys Book. \u003c/em>\u003c/strong>I allow myself one cheat per year, in which I can include something that didn’t technically come out in the year at issue, but that I consumed during the year. This time around, it’s the wonderful audiobook of \u003cem>The Beastie Boys Book\u003c/em>. As someone who never really reacted much to \u003ca href=\"https://www.npr.org/2018/10/29/661647527/rap-buddhism-and-broken-radiators-the-beastie-boys-have-a-story-for-everything\" target=\"_blank\" rel=\"noopener noreferrer\">the group at the center\u003c/a> of the book, I didn’t expect to be so mesmerized by it. But it’s inventively presented, very well written and performed by a large and impressive cast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpsAi0rF968\u003c/p>\n\u003cp>30. \u003ca href=\"https://www.bookforum.com/print/2601/bret-easton-ellis-rages-against-the-decline-of-american-culture-20825\" target=\"_blank\" rel=\"noopener noreferrer\">This piece about Bret Easton Ellis\u003c/a>.\u003c/p>\n\u003cp>31. \u003ca href=\"https://twitter.com/marysdesk/status/1110975466192715777\" target=\"_blank\" rel=\"noopener noreferrer\">This clip of Nina Totenberg\u003c/a>.\u003c/p>\n\u003cp>32. \u003cstrong>The Jonathan Coulton album \u003c/strong>\u003cstrong>\u003cem>Some Guys\u003c/em>\u003c/strong> \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_kf7ikrMyLQjQmmYoahDU3d71luPzQU8XU\" target=\"_blank\" rel=\"noopener noreferrer\">recreates defiantly uncool ’70s music\u003c/a> like “How Deep Is Your Love” and “Easy” with an unironic love that brings it beautifully to life. Sometimes you just have to love with your whole heart, and you find that fidelity is the best kind of reinvention.\u003c/p>\n\u003cp>33. There is \u003cstrong>a chapter in John Hodgman’s \u003c/strong>\u003cstrong>\u003cem>Medallion Status \u003c/em>\u003c/strong>called “Nude Rider,” and it contains not only very interesting information about appearing naked on film, but also a discussion of what it’s like to be told that you look very much like a monstrous historical figure. It is well worth your time.\u003c/p>\n\u003cp>34. The Internet can be a good place for good dogs. We all need the reminders that they bring, and in \u003cstrong>Winky\u003c/strong>‘s case, it was that you have time, and sometimes you just have to do things on your own schedule.\u003c/p>\n\u003cp>https://twitter.com/WKCDOGS/status/1094642149541535745\u003c/p>\n\u003cp>35. \u003cstrong>Trevor Noah\u003c/strong> took on one of the hardest jobs one could possibly take on when he assumed the host chair at \u003cem>The Daily Show\u003c/em>. And while opinions vary on how the show has been in his era, he’s a smart and thoughtful guy who thrives on teasing out nuance in a variety of situations, as he did in \u003ca href=\"https://twitter.com/lindaholmes/status/1094209365970743296\" target=\"_blank\" rel=\"noopener noreferrer\">a very good response to an audience question\u003c/a> about Liam Neeson discussing his old revenge fantasies. Particularly for an off-the-cuff answer to such an explosive question, I think he knocked it out of the park. More discussions like this, please.\u003c/p>\n\u003cp>36. Very often, when celebrities drink for the benefit of cameras, they play up how drunk they are. But when \u003cstrong>Seth Meyers went day drinking with Rihanna\u003c/strong>, \u003ca href=\"https://www.youtube.com/watch?v=X3n5Pk8fkLg\" target=\"_blank\" rel=\"noopener noreferrer\">he got legitimately smashed\u003c/a>. Just \u003cem>smashed\u003c/em>. The combination of his precipitous decline with her wonderful, infectious, cackling laugh made it one of my favorite silly things of the year.\u003c/p>\n\u003cp>37. \u003cstrong>Sam Shepard’s \u003c/strong>\u003cstrong>\u003cem>True West \u003c/em>\u003c/strong>was revived this year on Broadway, and the lead performances from Ethan Hawke and Paul Dano brought out the differences, and not just the similarities, between the classic theatrical brothers. In particular, Dano’s particular spin on the spinning out of the quieter Austin was tragic and painful and very funny all at the same time, and I could have watched him make toast for many, many hours.\u003c/p>\n\u003cp>38. \u003ca href=\"https://twitter.com/MLBGIFs/status/1118370837789323266\" target=\"_blank\" rel=\"noopener noreferrer\">This baseball GIF\u003c/a>.\u003c/p>\n\u003cp>39. \u003cstrong>The Buzzfeed vertical \u003c/strong>\u003cem>\u003cstrong>Cocoa Butter\u003c/strong>\u003c/em> has found great success with a series of videos in which black tasters try each other’s home cooking. My favorite is called \u003ca href=\"https://twitter.com/cocoabutterbf/status/1127257411608354817\" target=\"_blank\" rel=\"noopener noreferrer\">Black Moms Try Other Black Moms’ Soul Food\u003c/a>. There is such joy and such delicious and mischievous suspense as you wait to find out what will happen when everybody tastes the food of whoever is being the most shady about everybody else’s cooking! It’s a fabulous series, inventive and funny and satisfying.\u003c/p>\n\u003cp>https://twitter.com/cocoabutterbf/status/1127257411608354817\u003c/p>\n\u003cp>40. Look, you don’t need me to tell you how much of an impact \u003cstrong>“Old Town Road” and Lil Nas X\u003c/strong> made this year. But for me, one of the most delightful aspects of that story was how the song was boosted by its appeal to kids, never more clear than in the video of Lil Nas X \u003ca href=\"https://twitter.com/Complex/status/1133796630942113793?s=09\" target=\"_blank\" rel=\"noopener noreferrer\">visiting an elementary school\u003c/a> where the kids absolutely lost their minds together. Joy, unbound.\u003c/p>\n\u003cp>41. Am I allowed to talk about an NPR project? Sure I am. You’ve heard a lot of true crime podcasts, perhaps, and you’ve heard a lot of history podcasts. But I particularly loved \u003cstrong>\u003cem>White Lies\u003c/em>\u003c/strong>, which \u003ca href=\"https://www.npr.org/podcasts/510343/white-lies\" target=\"_blank\" rel=\"noopener noreferrer\">delved into the murder of James Reeb\u003c/a> in 1965 while he was in Selma, Ala. participating in civil rights activism. Hosts Chip Brantley and Andrew Beck Grace masterfully mixed history and education in the traditional senses with the kind of investigation that can make true crime so interesting. And they showed great care in putting the murder of Reeb—a visiting white minister—in the context of other violence at the time, including killings of black citizens whose cases never received nearly the notoriety this one did.\u003c/p>\n\u003cp>42. When I started \u003ca href=\"https://www.npr.org/2019/07/15/741146427/we-all-watch-in-our-own-way-a-critic-tracks-the-tv-revolution\">TV critic Emily Nussbaum\u003c/a>‘s book \u003cstrong>\u003cem>I Like To Watch\u003c/em>\u003c/strong>, I would have said I didn’t want to read any more examinations of how to treat artists whose ugly behavior had come into focus, particularly as the #MeToo movement grew. I would have said I was full up, in particular, on Louis C.K. discourse. But Nussbaum has always been a writer of exceptional sharpness when it comes to navigating the complexities of her own reactions. The chapter in the book, right in the middle, that examines these questions at length is essential and wise, one of the best meditations I have read on what fans of these artists—and the many others similarly situated—should do now.\u003c/p>\n\u003cp>43. I’m pretty confident \u003ca href=\"https://www.lrb.co.uk/the-paper/v41/n19/patricia-lockwood/malfunctioning-sex-robot\" target=\"_blank\" rel=\"noopener noreferrer\">the most enjoyable piece of culture commentary\u003c/a> I read all year was called “\u003cstrong>Malfunctioning Sex Robot\u003c/strong>.”\u003c/p>\n\u003cp>44. In spite of the fact that I already shouted out the wonderful way he weaponized horses to hilarious effect, I’m going to throw a further mention to \u003cstrong>Keanu Reeves\u003c/strong>, who not only did \u003cem>John Wick 3\u003c/em>, plus a funny turn in \u003cem>Toy Story 4\u003c/em>, but was also tremendous fun playing a version of himself in the Ali Wong/Randall Park romantic comedy \u003cem>Always Be My Maybe\u003c/em>. As deadly serious as he is in the \u003cem>John Wick \u003c/em>series, that’s how goofy he is in \u003cem>Always Be My Maybe\u003c/em>, and \u003ca href=\"https://www.npr.org/2019/05/31/728311649/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe\" target=\"_blank\" rel=\"noopener noreferrer\">what a pleasure it was to watch\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ex403ii_Bhs\u003c/p>\n\u003cp>45. \u003cstrong>The book\u003c/strong> \u003cstrong>\u003cem>Say Nothing: A True Story of Murder and Memory in Northern Ireland \u003c/em>\u003c/strong>takes on the very tough task of unraveling a specific event within the context of a hugely complicated, incredibly sensitive historical conflict—series of conflicts, really—with painful implications for many, many people. Patrick Radden Keefe accomplishes the goal admirably, making the book both a riveting story and a primer for anyone who hasn’t studied Northern Ireland.\u003c/p>\n\u003cp>46. I feel like the podcast \u003cstrong>\u003cem>Reply All \u003c/em>\u003c/strong>winds up on this list every year, but I make no apologies, because it truly is one of my most reliable sources of podcast enjoyment. This year, I think my favorite was \u003ca href=\"https://gimletmedia.com/shows/reply-all/n8hw3d\" target=\"_blank\" rel=\"noopener noreferrer\">“30-50 Feral Hogs,”\u003c/a> an episode devoted to finding the story behind what had quickly become a running public joke. This show is what genuine curiosity sounds like to me, and I’m always so grateful.\u003c/p>\n\u003cp>47. Add me to the many voices praising this year’s new edition of \u003cstrong>\u003cem>The Joy Of Cooking\u003c/em>\u003c/strong>. It’s a big, varied, lovingly and accessibly written book that will take you through the basics while also seeming thoroughly modern.\u003c/p>\n\u003cp>48. I have rarely been as frustrated by the vanishing of a wonderful network comedy as I was by the end of ABC’s \u003cstrong>\u003cem>Speechless\u003c/em>\u003c/strong>. But to its credit, the show managed to end in a place that offered hope and a path forward to the lovable DiMeo family. I consider it one of the big losses of 2019, but it still gave me a lot of highlights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QHW3G6mRvqw\u003c/p>\n\u003cp>49. There are many pleasures in Greta Gerwig’s \u003cstrong>\u003cem>Little Women\u003c/em>\u003c/strong>, but one that got me right in the heart was seeing \u003ca href=\"https://www.npr.org/2019/12/24/790812857/saoirse-ronan-playing-jo-march-in-little-women-was-a-confidence-boost\" target=\"_blank\" rel=\"noopener noreferrer\">Saoirse Ronan\u003c/a> and Timothée Chalamet work together again. It used to be that screen couples often acted together again and again; here’s one vote for persuading them to bring that tradition back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>50. One of my favorite developments of the year in streaming was the arrival of \u003cstrong>\u003cem>Billy on the Street\u003c/em>\u003c/strong> at Netflix. Is it a new show? \u003ca href=\"https://www.npr.org/2016/12/12/505245220/billy-eichner-makes-a-career-out-of-love-hating-celebrity-culture\" target=\"_blank\" rel=\"noopener noreferrer\">It is not.\u003c/a> But now, you can watch it as it was meant to be seen: In exactly the dosages you need.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=50+Wonderful+Things+From+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "From J. Lo to Keanu, baseball GIFs to Phoebe Waller-Bridge's masterpiece, here are 50 great cultural moments—from TV, movies, theater, books, podcasts and more—from the year that was.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Standard caveats (really standard—same as \u003ca href=\"https://www.npr.org/2018/12/27/679839731/50-wonderful-things-from-2018\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/27/570931638/50-wonderful-things-from-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a>): I don’t watch everything. I am behind on many things. That’s just the way the world is. So if something you loved isn’t here, it is not a rebuke.\u003c/p>\n\u003cp>And: These are cultural, mostly pop-cultural, things. These are not the best things in the world. Like yours, my actual list of wonderful things from the year, if I wrote it in a journal instead of for work, would be a list of people and moments spent with them—of days when it was unexpectedly sunny and of times when things suddenly felt better. But whatever journey you’re on at any given moment, you can always use more good things. So here we go.\u003c/p>\n\u003cp>1. \u003cstrong>The \u003c/strong>\u003cstrong>\u003cem>Knives Out \u003c/em>\u003c/strong>\u003cstrong>sculpture. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\" target=\"_blank\" rel=\"noopener noreferrer\">We’ve talked about\u003c/a> the sweaters in Rian Johnson’s great whodunit, and about the performances, and about the … uh, commitment? … of Daniel Craig’s very silly accent. But let’s also appreciate the \u003ca href=\"https://www.npr.org/2019/11/26/782904344/get-a-clue-go-see-knives-out\" target=\"_blank\" rel=\"noopener noreferrer\">enormous sculpture\u003c/a> made of knives that frames the heads of every member of the family as they’re interviewed.\u003c/p>\n\u003cp>2. \u003cstrong>James Marsden jumping on the trampoline in \u003c/strong>\u003cstrong>\u003cem>Dead to Me\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> James Marsden is one of those interesting actors who can do so many different things well that he’s easy to take for granted. It’s a mistake, though. Playing a slick, inspirational-speaking jerk, he wakes up, goes out on his balcony and executes a series of silly trampoline moves he says are meant to “get [his] lymph nodes going.”\u003c/p>\n\u003cp>3. \u003cstrong>John Mulaney’s plaid pants in the “Co-op” episode of \u003c/strong>\u003cstrong>\u003cem>Documentary Now\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>The comedian’s wardrobe choices have showed up on this list before, but they’ve never been quite so indelible as his weirdly magnetic ’70s get-up as \u003cem>Documentary Now\u003c/em>‘s \u003ca href=\"https://www.npr.org/2019/02/27/698126773/the-show-tunes-and-plaid-pants-of-the-documentary-now-sondheim-send-up\" target=\"_blank\" rel=\"noopener noreferrer\">version of Stephen Sondheim\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7KMpuoSB8HA'\n title='//www.youtube.com/embed/7KMpuoSB8HA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>4. \u003cstrong>“This is a love story” in \u003c/strong>\u003cstrong>\u003cem>Fleabag\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>We were all so lucky to get two seasons of Phoebe Waller-Bridge’s masterpiece, and \u003ca href=\"https://www.youtube.com/watch?v=jPaEqk3kVjo\" target=\"_blank\" rel=\"noopener noreferrer\">the turn to camera to say\u003c/a> “this is a love story” set up the brilliant second season with intrigue, humor and Waller-Bridge’s inimitable kind of heart. The sequence of shots is so brilliant, and the entire episode so satisfying. We’ll be lucky to see its equal.\u003c/p>\n\u003cp>5.\u003cstrong> Aasif Mandvi in \u003c/strong>\u003cstrong>\u003cem>This Way Up. \u003c/em>\u003c/strong>Aisling Bea’s \u003ca href=\"https://www.npr.org/2019/08/21/752811433/this-way-up-deserves-a-spot-on-your-crowded-viewing-list\" target=\"_blank\" rel=\"noopener noreferrer\">series about a young Irish woman\u003c/a> fresh out of mental health treatment offered a lot of simple pleasures. But one was seeing Aasif Mandvi, who was very funny on \u003cem>The Daily Show\u003c/em> and plays an awful lot of doctors because Hollywood is Hollywood, play the boyfriend of the character played by Sharon Horgan. A fine romantic lead, Mandvi got to show some chops that I personally hadn’t seen very much before, and it was thrilling.\u003c/p>\n\u003cp>6. \u003cstrong>Natasha Lyonne killing it in \u003c/strong>\u003cstrong>\u003cem>Russian Doll\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Natasha Lyonne is a force, and this performance (and her work in \u003ca href=\"https://www.npr.org/2019/02/01/690276468/natasha-lyonne-anchors-the-riveting-russian-doll\" target=\"_blank\" rel=\"noopener noreferrer\">creating the show\u003c/a>) is a force. May everyone find such a perfect place to be at the peak of their powers.\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/YHcKoAMGGvY'\n title='//www.youtube.com/embed/YHcKoAMGGvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>J. Smith-Cameron in \u003c/strong>\u003cstrong>\u003cem>Succession\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>There is so much to admire about \u003ca href=\"https://www.npr.org/2019/08/12/750189331/succession-back-to-the-pit-of-vipers-for-another-season-of-discontent\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s rich-jerks drama\u003c/a>, but one of the real stars of Season 2 was J. Smith-Cameron as Gerri, one of the Roy family’s faithful lieutenants. Once mostly a figure in meetings hovering over paperwork, Gerri ended Season 2 with a sharper sense of humor, a more distinct role in the family, a star turn at the Roy Family [Figurative] Murder Breakfast and a sexual relationship-ish that’s both offbeat and sweet.\u003c/p>\n\u003cp>8.\u003cstrong> The big resolution in \u003c/strong>\u003cstrong>\u003cem>Unbelievable\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>It wouldn’t be fair to say much about the photo that loads late in \u003ca href=\"https://www.npr.org/2019/10/01/766049015/unbelievable-is-a-searing-drama-about-violence-and-justice\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix’s fact-based series\u003c/a> about an unsolved rape case, but making a plot turn feel so simultaneously satisfying and wrenching is very difficult. And while the series largely belongs to performances from Kaitlyn Dever, Merritt Wever and Toni Collette, you’d be hard-pressed to find a better wordless 30 seconds in all of 2020 than the ones Eric Lange, playing a detective, delivers early in the last episode when this scene hits.\u003c/p>\n\u003cp>9. \u003cstrong>The manipulation of time in \u003c/strong>\u003cstrong>\u003cem>Watchmen\u003c/em>\u003c/strong>\u003cstrong> episode 6. \u003c/strong>The first—and maybe the only—season of HBO’s \u003cem>Watchmen \u003c/em>was excellent throughout, but it reached a new high in the sixth episode, as interwoven past and present stories created connections that were surprising, but seemed somehow inevitable.\u003c/p>\n\u003cp>10.\u003cstrong> Billy Crudup in \u003c/strong>\u003cstrong>\u003cem>The Morning Show\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> I’m among those who believe that Apple TV+’s first big series, about the aftermath of a sexual harassment scandal on a network morning show, got a rougher reception than it deserved—partly because it takes a couple of episodes to find its feet and focus. But even many of those who remained unimpressed by it found kind words for the snake-like, inscrutable, toothy and toothsome performance by Billy Crudup as a network executive who could do good only when it meant doing well.\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/Cf7N_j6Uvkg'\n title='//www.youtube.com/embed/Cf7N_j6Uvkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>11. \u003cstrong>The turn in \u003c/strong>\u003cstrong>\u003cem>Parasite\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I was very lucky to see Bong Joon-ho’s fabulous, complex film at the Toronto International Film Festival without knowing almost anything about it. I didn’t even really know what \u003cem>kind \u003c/em>of movie it was, and that was as it should be.\u003c/p>\n\u003cp>12.\u003cstrong> Jeremy Bearimy, baby. \u003c/strong>At the end of the third season of NBC’s \u003cem>The Good Place\u003c/em>, the conscientious, anxious, deeply moral Chidi (William Jackson Harper) and his partner-in-crime Eleanor (Kristen Bell) are forced to part company. After being reminded that theirs is a story that spans many lifetimes, Chidi uses what was once a silly, jokey phrase about the structure of time to make a profoundly romantic declaration, telling Eleanor that they will “chill out in the dot of the i forever.” That this means nothing if you haven’t \u003ca href=\"https://www.npr.org/2019/09/26/764229236/the-good-place-starts-its-final-approach\" target=\"_blank\" rel=\"noopener noreferrer\">watched the show\u003c/a>, and everything if you have, is what makes it so distinct and moving.\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/RFm9ClqlGuo'\n title='//www.youtube.com/embed/RFm9ClqlGuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>13.\u003cstrong> Jennifer Lopez’s dance in \u003c/strong>\u003cstrong>\u003cem>Hustlers\u003c/em>\u003c/strong>\u003cstrong>, and the accompanying video. \u003c/strong>I don’t disagree with the many people who have said J. Lo should be in the running for awards for her performance in Lorene Scafaria’s crime drama. But that doesn’t mean I don’t also appreciate the athleticism of Lopez’s first dance on the pole, as well as the \u003ca href=\"https://www.youtube.com/watch?v=pRhOWrk5_NM\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes look\u003c/a> at her training that she shared.\u003c/p>\n\u003cp>14.\u003cstrong> Every time Christian Siriano said “You’re killing me” on \u003c/strong>\u003cstrong>\u003cem>Project Runway\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>A great example of \u003ca href=\"https://www.npr.org/2019/06/14/732423982/project-runway-proves-change-can-be-healthy\" target=\"_blank\" rel=\"noopener noreferrer\">how to reset\u003c/a> a competitive reality show, Siriano was the perfect new mentor, and the way he freely expressed his frustration with the designers was one of his secret weapons. (See also: “You’re putting a zipper right on the boob?”)\u003c/p>\n\u003cp>15. \u003cstrong>\u003cem>Oklahoma! \u003c/em>\u003c/strong>It’s not that \u003cem>Oklahoma! \u003c/em>hasn’t always been a dark musical—it has. But the Broadway revival I got to see this spring brought out new layers of darkness, new kinds of bleakness. The finale—which I will not describe—is one of the most startling, provocative stage moments I’ve ever seen, particularly working from such a well-known text. (Bonus: Soraya McDonald’s \u003ca href=\"https://theundefeated.com/features/the-unbearable-whiteness-of-oklahoma-on-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">excellent piece\u003c/a> at \u003cem>The Undefeated\u003c/em> about the production.)\u003c/p>\n\u003cp>16. \u003cstrong>\u003cem>What The Constitution Means to Me. \u003c/em>\u003c/strong>Heidi Schreck shook up the \u003ca href=\"https://www.npr.org/2019/03/30/707858702/staging-a-debate-over-what-the-constitution-means-to-me\" target=\"_blank\" rel=\"noopener noreferrer\">one-woman show\u003c/a> with her combination of speech, debate, dramatic monologue and call to arms. The piece is so smart and thoughtful that it’s easy to forget, when describing it, that it’s also funny and entertaining—enlivened by a late development that had the audience I was part of enthralled.\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/W3GV1K2nctM'\n title='//www.youtube.com/embed/W3GV1K2nctM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>17. \u003cstrong>The horse fight in \u003c/strong>\u003cstrong>\u003cem>John Wick: Chapter 3—Parabellum\u003c/em>\u003c/strong>. The biggest problem with any John Wick movie, I now believe, is that it can’t be all Keanu Reeves fighting bad guys using horses and library books.\u003c/p>\n\u003cp>18. \u003cstrong>The way \u003c/strong>\u003cstrong>\u003cem>Crazy Ex-Girlfriend\u003c/em>\u003c/strong>\u003cstrong> landed the plane. \u003c/strong>It’s so hard to end a show as ambitious as \u003cem>Crazy Ex-Girlfriend\u003c/em>—particularly when it set itself up as, in part, a romantic-comedy spoof and then demonstrated that a romantic-comedy ending would be an utter betrayal of its first principles. The final episode showed respect to Rebecca’s desire to be loved; her growth as a person; the musical talent that’s been under our noses the entire time; and the fact that no matter how much she works to improve herself, White Josh will never, ever like her. Extra points for the way that, as the show wound down, co-creator and star Rachel Bloom \u003ca href=\"https://twitter.com/lindaholmes/status/1105976011487879169\" target=\"_blank\" rel=\"noopener noreferrer\">sold it like double the rent was due at all times\u003c/a>.\u003c/p>\n\u003cp>19.\u003cstrong> The unreal, unsettling doppelgangers in \u003c/strong>\u003cstrong>\u003cem>Us\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Doppelgangers are such a staple of horror that to make them really, genuinely scary, you have to develop their look and style in a very particular way—\u003ca href=\"https://www.npr.org/2019/03/22/705875221/jordan-peele-looked-into-the-mirror-and-saw-the-evil-inside-us\" target=\"_blank\" rel=\"noopener noreferrer\">as Jordan Peele did\u003c/a> in \u003cem>Us\u003c/em>. Led by Lupita Nyong’o as Red, the family of copies that shows up in their red jumpsuits, with their scissors and obviously ill intentions, use their stillness as a weapon, settling for “creepy” until it’s time to be worse than that.\u003c/p>\n\u003cp>20. \u003cstrong>The “Anna Ishii-Peters” episode of \u003c/strong>\u003cstrong>\u003cem>PEN15\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I’m not sure why stories in which teenagers bond with each other’s families are so consistently moving, but “Anna Ishii-Peters” follows in the tradition of \u003cem>My So-Called Life\u003c/em> and its “Other People’s Mothers” episode to great effect. \u003cem>PEN15 \u003c/em>is a lovely, thoughtful, \u003ca href=\"https://www.npr.org/2019/02/11/691694798/looking-at-middle-school-through-grown-up-glasses-in-pen15\" target=\"_blank\" rel=\"noopener noreferrer\">big-hearted look at adolescence\u003c/a>—in addition to being a raunchy, candid document of the kind of body horror that only happens in middle school.\u003c/p>\n\u003cp>21. \u003cstrong>The third season of the podcast \u003c/strong>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong> New host \u003ca href=\"https://www.npr.org/2019/11/07/776908450/slow-burn-season-3-turns-its-investigative-eye-to-the-murders-of-biggie-and-tupa\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Anderson takes listeners through\u003c/a> two of the most famous (officially) unsolved murders of the 20th century: those of rappers Tupac Shakur and Biggie Smalls. Finding the line between overexplaining and underexplaining, the series (in the manner of all good true crime) moves beyond its specific subjects to talk about how rap was developing in the 1990s, and how it was changed by the deaths of these two very young men.\u003c/p>\n\u003cp>22. \u003cem>\u003cstrong>Bon Appétit\u003c/strong>\u003c/em>\u003cstrong> videos! \u003c/strong>Few instructional YouTube channels are as beloved and useful as the one from \u003cem>Bon Appétit\u003c/em>, which has almost five million subscribers. It contains plenty of straight-up how-to pieces, but continues to innovate with series like Reverse Engineering, a monthly show in which deputy food editor Chris Morocco tries to recreate dishes he’s allowed to taste and touch but not see. \u003ca href=\"https://www.youtube.com/channel/UCbpMy0Fg74eXXkvxJrtEn3w\" target=\"_blank\" rel=\"noopener noreferrer\">The whole channel\u003c/a> is a pleasure from start to finish, and its passionate following is well-earned.\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/rE4KHYrWEXY'\n title='//www.youtube.com/embed/rE4KHYrWEXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>23. \u003cstrong>The synchronized swimming in \u003c/strong>\u003cstrong>\u003cem>The Marvelous Mrs. Maisel. \u003c/em>\u003c/strong>The adventures of Midge Maisel have sometimes satisfied and sometimes not. But a stretch of the third season set in Miami was full of delights, including an opening sequence in the sixth episode that incorporated underwater filming, synchronized swimming and the hangover from a night out with Lenny Bruce. Great stuff.\u003c/p>\n\u003cp>24. \u003cstrong>The end of \u003c/strong>\u003cem>\u003cstrong>Again With This: BH\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>Back in May 2015, Sarah Bunting and Tara Ariano—who were, full disclosure, my bosses at\u003cem> Television Without Pity \u003c/em>for years—began \u003ca href=\"https://www.againwiththis90210.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast project\u003c/a> to recap each episode of \u003cem>Beverly Hills, 90210 \u003c/em>one at a time. That dumb show, it turns out, ran for 10 seasons, most of which were supersized, because it ran well into the summer. (There are seasons that have more than 30 episodes.) In December of this year, they finished. Not only was this a nutty exercise in completism, but taking the time to examine individual episodes late in the run of a show that had long since given up on itself offers a rare glimpse at what network television used to look like when it just wanted to run out the clock.\u003c/p>\n\u003cp>25. \u003cstrong>\u003cem>The Inventor: Out for Blood in Silicon Valley. \u003c/em>\u003c/strong>2019 was \u003ca href=\"https://www.npr.org/2019/04/30/718663783/elizabeth-holmes-and-theranos-in-pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">The Year When We Talked A Lot About Theranos\u003c/a>, the company run by Elizabeth Holmes, who’s now awaiting a federal fraud trial. There are a lot of ways to learn about the story—the 2018 book \u003cem>Bad Blood \u003c/em>\u003ca href=\"https://www.npr.org/2018/06/23/622795416/reporter-john-carreyrou-on-the-bad-blood-of-theranos\" target=\"_blank\" rel=\"noopener noreferrer\">by John Carreyrou\u003c/a> is probably the best source document. But Alex Gibney’s 2019 HBO documentary is also a corker, for sure.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wtDaP18OGfw'\n title='//www.youtube.com/embed/wtDaP18OGfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>26.\u003cstrong> The moment in Mike Birbiglia’s \u003c/strong>\u003cstrong>\u003cem>The New One\u003c/em>\u003c/strong>\u003cstrong> that you’ll know when you see it. \u003c/strong>You don’t necessarily expect a one-man show to have a twist. But Birbiglia’s show about raising children and buying furniture, which is now available on Netflix, uses surprise better than any show like it that I’ve ever seen.\u003c/p>\n\u003cp>27.\u003cstrong>\u003cem> We Cast a Shadow\u003c/em>\u003c/strong>\u003cstrong>, by Maurice Carlos Ruffin\u003c/strong>. \u003ca href=\"https://www.npr.org/2019/01/30/689747338/in-we-cast-a-shadow-the-horrors-are-close-to-home\" target=\"_blank\" rel=\"noopener noreferrer\">A book about \u003c/a>race, class, parenting and the future, \u003cem>We Cast A Shadow \u003c/em>is the book about which I was proud to simply announce: “This book knocked me on my ass.”\u003c/p>\n\u003cp>28.\u003cstrong> Points of view in \u003c/strong>\u003cstrong>\u003cem>Fleishman Is in Trouble\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\" target=\"_blank\" rel=\"noopener noreferrer\">Taffy Brodesser-Akner’s divorce novel\u003c/a> is incisive on the ideas of family and relationships, to be sure. But what impressed me most was how pointed I found its implicit critiques of the modern American literary novel—as focused as it often is on sad men and their sad stories and their sad struggles, with no room for anyone else to speak.\u003c/p>\n\u003cp>29. \u003cstrong>The audiobook presentation of \u003c/strong>\u003cstrong>\u003cem>The Beastie Boys Book. \u003c/em>\u003c/strong>I allow myself one cheat per year, in which I can include something that didn’t technically come out in the year at issue, but that I consumed during the year. This time around, it’s the wonderful audiobook of \u003cem>The Beastie Boys Book\u003c/em>. As someone who never really reacted much to \u003ca href=\"https://www.npr.org/2018/10/29/661647527/rap-buddhism-and-broken-radiators-the-beastie-boys-have-a-story-for-everything\" target=\"_blank\" rel=\"noopener noreferrer\">the group at the center\u003c/a> of the book, I didn’t expect to be so mesmerized by it. But it’s inventively presented, very well written and performed by a large and impressive cast.\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/QpsAi0rF968'\n title='//www.youtube.com/embed/QpsAi0rF968'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>30. \u003ca href=\"https://www.bookforum.com/print/2601/bret-easton-ellis-rages-against-the-decline-of-american-culture-20825\" target=\"_blank\" rel=\"noopener noreferrer\">This piece about Bret Easton Ellis\u003c/a>.\u003c/p>\n\u003cp>31. \u003ca href=\"https://twitter.com/marysdesk/status/1110975466192715777\" target=\"_blank\" rel=\"noopener noreferrer\">This clip of Nina Totenberg\u003c/a>.\u003c/p>\n\u003cp>32. \u003cstrong>The Jonathan Coulton album \u003c/strong>\u003cstrong>\u003cem>Some Guys\u003c/em>\u003c/strong> \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_kf7ikrMyLQjQmmYoahDU3d71luPzQU8XU\" target=\"_blank\" rel=\"noopener noreferrer\">recreates defiantly uncool ’70s music\u003c/a> like “How Deep Is Your Love” and “Easy” with an unironic love that brings it beautifully to life. Sometimes you just have to love with your whole heart, and you find that fidelity is the best kind of reinvention.\u003c/p>\n\u003cp>33. There is \u003cstrong>a chapter in John Hodgman’s \u003c/strong>\u003cstrong>\u003cem>Medallion Status \u003c/em>\u003c/strong>called “Nude Rider,” and it contains not only very interesting information about appearing naked on film, but also a discussion of what it’s like to be told that you look very much like a monstrous historical figure. It is well worth your time.\u003c/p>\n\u003cp>34. The Internet can be a good place for good dogs. We all need the reminders that they bring, and in \u003cstrong>Winky\u003c/strong>‘s case, it was that you have time, and sometimes you just have to do things on your own schedule.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>35. \u003cstrong>Trevor Noah\u003c/strong> took on one of the hardest jobs one could possibly take on when he assumed the host chair at \u003cem>The Daily Show\u003c/em>. And while opinions vary on how the show has been in his era, he’s a smart and thoughtful guy who thrives on teasing out nuance in a variety of situations, as he did in \u003ca href=\"https://twitter.com/lindaholmes/status/1094209365970743296\" target=\"_blank\" rel=\"noopener noreferrer\">a very good response to an audience question\u003c/a> about Liam Neeson discussing his old revenge fantasies. Particularly for an off-the-cuff answer to such an explosive question, I think he knocked it out of the park. More discussions like this, please.\u003c/p>\n\u003cp>36. Very often, when celebrities drink for the benefit of cameras, they play up how drunk they are. But when \u003cstrong>Seth Meyers went day drinking with Rihanna\u003c/strong>, \u003ca href=\"https://www.youtube.com/watch?v=X3n5Pk8fkLg\" target=\"_blank\" rel=\"noopener noreferrer\">he got legitimately smashed\u003c/a>. Just \u003cem>smashed\u003c/em>. The combination of his precipitous decline with her wonderful, infectious, cackling laugh made it one of my favorite silly things of the year.\u003c/p>\n\u003cp>37. \u003cstrong>Sam Shepard’s \u003c/strong>\u003cstrong>\u003cem>True West \u003c/em>\u003c/strong>was revived this year on Broadway, and the lead performances from Ethan Hawke and Paul Dano brought out the differences, and not just the similarities, between the classic theatrical brothers. In particular, Dano’s particular spin on the spinning out of the quieter Austin was tragic and painful and very funny all at the same time, and I could have watched him make toast for many, many hours.\u003c/p>\n\u003cp>38. \u003ca href=\"https://twitter.com/MLBGIFs/status/1118370837789323266\" target=\"_blank\" rel=\"noopener noreferrer\">This baseball GIF\u003c/a>.\u003c/p>\n\u003cp>39. \u003cstrong>The Buzzfeed vertical \u003c/strong>\u003cem>\u003cstrong>Cocoa Butter\u003c/strong>\u003c/em> has found great success with a series of videos in which black tasters try each other’s home cooking. My favorite is called \u003ca href=\"https://twitter.com/cocoabutterbf/status/1127257411608354817\" target=\"_blank\" rel=\"noopener noreferrer\">Black Moms Try Other Black Moms’ Soul Food\u003c/a>. There is such joy and such delicious and mischievous suspense as you wait to find out what will happen when everybody tastes the food of whoever is being the most shady about everybody else’s cooking! It’s a fabulous series, inventive and funny and satisfying.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>40. Look, you don’t need me to tell you how much of an impact \u003cstrong>“Old Town Road” and Lil Nas X\u003c/strong> made this year. But for me, one of the most delightful aspects of that story was how the song was boosted by its appeal to kids, never more clear than in the video of Lil Nas X \u003ca href=\"https://twitter.com/Complex/status/1133796630942113793?s=09\" target=\"_blank\" rel=\"noopener noreferrer\">visiting an elementary school\u003c/a> where the kids absolutely lost their minds together. Joy, unbound.\u003c/p>\n\u003cp>41. Am I allowed to talk about an NPR project? Sure I am. You’ve heard a lot of true crime podcasts, perhaps, and you’ve heard a lot of history podcasts. But I particularly loved \u003cstrong>\u003cem>White Lies\u003c/em>\u003c/strong>, which \u003ca href=\"https://www.npr.org/podcasts/510343/white-lies\" target=\"_blank\" rel=\"noopener noreferrer\">delved into the murder of James Reeb\u003c/a> in 1965 while he was in Selma, Ala. participating in civil rights activism. Hosts Chip Brantley and Andrew Beck Grace masterfully mixed history and education in the traditional senses with the kind of investigation that can make true crime so interesting. And they showed great care in putting the murder of Reeb—a visiting white minister—in the context of other violence at the time, including killings of black citizens whose cases never received nearly the notoriety this one did.\u003c/p>\n\u003cp>42. When I started \u003ca href=\"https://www.npr.org/2019/07/15/741146427/we-all-watch-in-our-own-way-a-critic-tracks-the-tv-revolution\">TV critic Emily Nussbaum\u003c/a>‘s book \u003cstrong>\u003cem>I Like To Watch\u003c/em>\u003c/strong>, I would have said I didn’t want to read any more examinations of how to treat artists whose ugly behavior had come into focus, particularly as the #MeToo movement grew. I would have said I was full up, in particular, on Louis C.K. discourse. But Nussbaum has always been a writer of exceptional sharpness when it comes to navigating the complexities of her own reactions. The chapter in the book, right in the middle, that examines these questions at length is essential and wise, one of the best meditations I have read on what fans of these artists—and the many others similarly situated—should do now.\u003c/p>\n\u003cp>43. I’m pretty confident \u003ca href=\"https://www.lrb.co.uk/the-paper/v41/n19/patricia-lockwood/malfunctioning-sex-robot\" target=\"_blank\" rel=\"noopener noreferrer\">the most enjoyable piece of culture commentary\u003c/a> I read all year was called “\u003cstrong>Malfunctioning Sex Robot\u003c/strong>.”\u003c/p>\n\u003cp>44. In spite of the fact that I already shouted out the wonderful way he weaponized horses to hilarious effect, I’m going to throw a further mention to \u003cstrong>Keanu Reeves\u003c/strong>, who not only did \u003cem>John Wick 3\u003c/em>, plus a funny turn in \u003cem>Toy Story 4\u003c/em>, but was also tremendous fun playing a version of himself in the Ali Wong/Randall Park romantic comedy \u003cem>Always Be My Maybe\u003c/em>. As deadly serious as he is in the \u003cem>John Wick \u003c/em>series, that’s how goofy he is in \u003cem>Always Be My Maybe\u003c/em>, and \u003ca href=\"https://www.npr.org/2019/05/31/728311649/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe\" target=\"_blank\" rel=\"noopener noreferrer\">what a pleasure it was to watch\u003c/a>.\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/Ex403ii_Bhs'\n title='//www.youtube.com/embed/Ex403ii_Bhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>45. \u003cstrong>The book\u003c/strong> \u003cstrong>\u003cem>Say Nothing: A True Story of Murder and Memory in Northern Ireland \u003c/em>\u003c/strong>takes on the very tough task of unraveling a specific event within the context of a hugely complicated, incredibly sensitive historical conflict—series of conflicts, really—with painful implications for many, many people. Patrick Radden Keefe accomplishes the goal admirably, making the book both a riveting story and a primer for anyone who hasn’t studied Northern Ireland.\u003c/p>\n\u003cp>46. I feel like the podcast \u003cstrong>\u003cem>Reply All \u003c/em>\u003c/strong>winds up on this list every year, but I make no apologies, because it truly is one of my most reliable sources of podcast enjoyment. This year, I think my favorite was \u003ca href=\"https://gimletmedia.com/shows/reply-all/n8hw3d\" target=\"_blank\" rel=\"noopener noreferrer\">“30-50 Feral Hogs,”\u003c/a> an episode devoted to finding the story behind what had quickly become a running public joke. This show is what genuine curiosity sounds like to me, and I’m always so grateful.\u003c/p>\n\u003cp>47. Add me to the many voices praising this year’s new edition of \u003cstrong>\u003cem>The Joy Of Cooking\u003c/em>\u003c/strong>. It’s a big, varied, lovingly and accessibly written book that will take you through the basics while also seeming thoroughly modern.\u003c/p>\n\u003cp>48. I have rarely been as frustrated by the vanishing of a wonderful network comedy as I was by the end of ABC’s \u003cstrong>\u003cem>Speechless\u003c/em>\u003c/strong>. But to its credit, the show managed to end in a place that offered hope and a path forward to the lovable DiMeo family. I consider it one of the big losses of 2019, but it still gave me a lot of highlights.\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/QHW3G6mRvqw'\n title='//www.youtube.com/embed/QHW3G6mRvqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>49. There are many pleasures in Greta Gerwig’s \u003cstrong>\u003cem>Little Women\u003c/em>\u003c/strong>, but one that got me right in the heart was seeing \u003ca href=\"https://www.npr.org/2019/12/24/790812857/saoirse-ronan-playing-jo-march-in-little-women-was-a-confidence-boost\" target=\"_blank\" rel=\"noopener noreferrer\">Saoirse Ronan\u003c/a> and Timothée Chalamet work together again. It used to be that screen couples often acted together again and again; here’s one vote for persuading them to bring that tradition back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50. One of my favorite developments of the year in streaming was the arrival of \u003cstrong>\u003cem>Billy on the Street\u003c/em>\u003c/strong> at Netflix. Is it a new show? \u003ca href=\"https://www.npr.org/2016/12/12/505245220/billy-eichner-makes-a-career-out-of-love-hating-celebrity-culture\" target=\"_blank\" rel=\"noopener noreferrer\">It is not.\u003c/a> But now, you can watch it as it was meant to be seen: In exactly the dosages you need.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=50+Wonderful+Things+From+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How 'Little Women' Remained a Cultural Touchstone for Over 150 Years",
"headTitle": "How ‘Little Women’ Remained a Cultural Touchstone for Over 150 Years | KQED",
"content": "\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Louisa May Alcott's \"Little Women\" continues to find an audience in those eager for nuanced portrayals of girlhood. New York's ALL ARTS asked experts why.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Watch Patton Oswalt Interview Comedy Legend George Wallace | KQED",
"content": "\u003cp>Though \u003ca href=\"https://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> is hosting a series of conversations between brilliant comedic figures (including \u003ca href=\"https://sfsketchfest2020.sched.com/event/XwbX\" target=\"_blank\" rel=\"noopener noreferrer\">Busy Philipps with Paul F. Tompkins\u003c/a>, and \u003ca href=\"https://sfsketchfest2020.sched.com/event/XppC/sf-sketchfest-tribute-to-brian-regan-in-conversation\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Regan with Todd Barry\u003c/a>), this chat between George Wallace and Patton Oswalt is likely to be a major highlight.\u003c/p>\n\u003cp>Wallace is a living comedy legend, famous for his sharp observational comedy, “I be thinkin'” catchphrase and infamous penchant for “Yo’ mama” jokes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MjzCkIiTLws&t=74s\u003c/p>\n\u003cp>Wallace started his stand-up career in New York in the late ’70s (where—fun fact!—he was roommates with Jerry Seinfeld), before moving to Los Angeles in the mid-’80s to write for Red Foxx’s ABC sitcom. While there he became a regular at Hollywood’s Comedy Store, performing alongside greats like Richard Pryor and Robin Williams, and honing skills he continues to sharpen on stage to this day.\u003c/p>\n\u003cp>While Wallace went on to appear in many movies (including \u003cem>Postcards From The Edge\u003c/em> and \u003cem>Batman Forever\u003c/em>) and TV shows (like \u003cem>Scrubs\u003c/em> and \u003cem>Seinfeld\u003c/em>), his primary focus has always been performing live. He’s a real comedian’s comedian—which is how he became good friends with another stand-up great, Patton Oswalt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7eZcZPtPoEc\u003c/p>\n\u003cp>Not only do Wallace and Oswalt share a similar approach to social commentary, they’re also not shy about expressing their camaraderie and adoration for one another—something they’ve previously demonstrated on social media:\u003c/p>\n\u003cp>https://twitter.com/mrgeorgewallace/status/1059543363639099392\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An evening exploring Wallace’s storied and influential career, as well as his life philosophies, would be pretty magical all on its own. In the hands of Oswalt though, it’s sure to be even more hilarious and heartwarming. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though \u003ca href=\"https://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> is hosting a series of conversations between brilliant comedic figures (including \u003ca href=\"https://sfsketchfest2020.sched.com/event/XwbX\" target=\"_blank\" rel=\"noopener noreferrer\">Busy Philipps with Paul F. Tompkins\u003c/a>, and \u003ca href=\"https://sfsketchfest2020.sched.com/event/XppC/sf-sketchfest-tribute-to-brian-regan-in-conversation\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Regan with Todd Barry\u003c/a>), this chat between George Wallace and Patton Oswalt is likely to be a major highlight.\u003c/p>\n\u003cp>Wallace is a living comedy legend, famous for his sharp observational comedy, “I be thinkin'” catchphrase and infamous penchant for “Yo’ mama” jokes.\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/MjzCkIiTLws'\n title='//www.youtube.com/embed/MjzCkIiTLws'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wallace started his stand-up career in New York in the late ’70s (where—fun fact!—he was roommates with Jerry Seinfeld), before moving to Los Angeles in the mid-’80s to write for Red Foxx’s ABC sitcom. While there he became a regular at Hollywood’s Comedy Store, performing alongside greats like Richard Pryor and Robin Williams, and honing skills he continues to sharpen on stage to this day.\u003c/p>\n\u003cp>While Wallace went on to appear in many movies (including \u003cem>Postcards From The Edge\u003c/em> and \u003cem>Batman Forever\u003c/em>) and TV shows (like \u003cem>Scrubs\u003c/em> and \u003cem>Seinfeld\u003c/em>), his primary focus has always been performing live. He’s a real comedian’s comedian—which is how he became good friends with another stand-up great, Patton Oswalt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Watch Ringo Starr and Sammy Davis Jr. in 1985's Bonkers 'Alice in Wonderland'",
"headTitle": "Watch Ringo Starr and Sammy Davis Jr. in 1985’s Bonkers ‘Alice in Wonderland’ | KQED",
"content": "\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cx0LNH4lx9c\u003c/p>\n\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O7SAvwZcNoU\u003c/p>\n\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kFi4DJ80bV4\u003c/p>\n\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vyH_Vhh22AE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\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/Cx0LNH4lx9c'\n title='//www.youtube.com/embed/Cx0LNH4lx9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\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/O7SAvwZcNoU'\n title='//www.youtube.com/embed/O7SAvwZcNoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\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/kFi4DJ80bV4'\n title='//www.youtube.com/embed/kFi4DJ80bV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\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/vyH_Vhh22AE'\n title='//www.youtube.com/embed/vyH_Vhh22AE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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