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"content": "\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\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>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eddie Murphy Explores a Blaxploitation Classic: 'Dolemite is My Name'",
"headTitle": "Eddie Murphy Explores a Blaxploitation Classic: ‘Dolemite is My Name’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DebCN7U65vY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\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/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\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/DebCN7U65vY'\n title='//www.youtube.com/embed/DebCN7U65vY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAGVQLHvwOY\u003c/p>\n\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\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=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\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/zAGVQLHvwOY'\n title='//www.youtube.com/embed/zAGVQLHvwOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\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=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new list has been compiled of America’s favorite movie candy, broken down state-by-state—and some of the results are very much \u003cem>not\u003c/em> okay.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/LightsCameraPod?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">\u003cem>Lights, Camera, Barstool\u003c/em>\u003c/a> podcast posted a map to social media, claiming that the candies selected for each state were dictated (“unofficially”!) by social media posts, combined with sales figures from Walmart and Target. But, oh boy, the joylessness inherent in some of these selections is so deeply upsetting, we are forced to question just how scientific the research that went into this is.\u003c/p>\n\u003cp>According to the map, of all the candy in all the world, Connecticut chooses \u003cem>raisins.\u003c/em> Texas, Idaho and South Carolina all favor black licorice (ew). Utah is apparently munching on something called \u003ca href=\"https://www.spanglercandy.com/our-brands/necco-wafers\" target=\"_blank\" rel=\"noopener\">Necco Wafers\u003c/a> that look like they’re from the 1930s. And most shockingly of all, North Dakota and Wisconsin finally provide an answer to the age-old question: Who in God’s name would eat baked beans or Kraft cheese slices at the movies? (Can it really be true?)\u003c/p>\n\u003cp>The most popular candy overall is M&Ms, with four states (New Hampshire, South Dakota, West Virginia and Wyoming) favoring them, followed by Tootsie Rolls, Reese’s Pieces and (again: ew) black licorice with three votes each respectively. California, quite typically, is dancing to the beat of its own drummer with Dots.\u003c/p>\n\u003cp>Accurate or not, the full list is a lot of fun:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alabama: Tootsie Rolls\u003cbr>\nAlaska: Wax Bottles\u003cbr>\nArizona: Candy Dots\u003cbr>\nArkansas: Junior Mints\u003cbr>\nCalifornia: Dots\u003cbr>\nColorado: Dum Dums\u003cbr>\nConnecticut: Raisins\u003cbr>\nDelaware: Reese’s Pieces\u003cbr>\nFlorida: Dum Dums\u003cbr>\nGeorgia: Smarties\u003cbr>\nHawaii: Wax Bottles\u003cbr>\nIdaho: Black licorice\u003cbr>\nIllinois: Sixlets\u003cbr>\nIndiana: Milk Duds\u003cbr>\nIowa: Candy Corn\u003cbr>\nKansas: Sixlets\u003cbr>\nKentucky: Bit-O-Honey\u003cbr>\nLouisiana: Pixie Sticks\u003cbr>\nMaine: Buncha Crunch\u003cbr>\nMaryland: Werther’s Original\u003cbr>\nMassachussetts: Circus Peanuts\u003cbr>\nMichigan: Good & Plenty\u003cbr>\nMinnesota: Almond Joy\u003cbr>\nMississippi: Candy Corn\u003cbr>\nMissouri: Sour Patch Kids\u003cbr>\nMontana: Buncha Crunch\u003cbr>\nNebraska: Junior Mints\u003cbr>\nNevada: Skittles\u003cbr>\nNew Hampshire: M&Ms\u003cbr>\nNew Jersey: Banana Laffy Taffy\u003cbr>\nNew Mexico: Reese’s Pieces\u003cbr>\nNew York: Pixie Sticks\u003cbr>\nNorth Carolina: Werther’s Original\u003cbr>\nNorth Dakota: Baked Beans\u003cbr>\nOhio: Lemonheads\u003cbr>\nOklahoma: Raisinets\u003cbr>\nOregon: Good & Plenty\u003cbr>\nPennsylvania: Jujyfruits\u003cbr>\nRhode Island: Lemonheads\u003cbr>\nSouth Carolina: Black licorice\u003cbr>\nSouth Dakota: M&Ms\u003cbr>\nTennessee: Tootsie Rolls\u003cbr>\nTexas: Black licorice\u003cbr>\nUtah: Necco Wafers\u003cbr>\nVermont: Candy Corn\u003cbr>\nVirginia: Tootsie Rolls\u003cbr>\nWashington: Reese’s Pieces\u003cbr>\nWashington DC: Cookie Dough Bites\u003cbr>\nWest Virginia: M&Ms\u003cbr>\nWisconsin: Kraft Cheese Slices\u003cbr>\nWyoming: M&Ms\u003c/p>\n\u003cp>People had feelings…\u003c/p>\n\u003cp>https://twitter.com/TalkinNothing/status/1178768126722355200\u003c/p>\n\u003cp>https://twitter.com/bookmarklit/status/1179050519861628928\u003c/p>\n\u003cp>https://twitter.com/shmermel/status/1179031630717079552\u003c/p>\n\u003cp>https://twitter.com/IanKenyonNFL/status/1179018687828959232\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/BlakeyLocks/status/1178797339810635779\u003c/p>\n\n",
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"title": "Banksy Has a Line of Homewares Now—But For the Best Possible Reason",
"headTitle": "Banksy Has a Line of Homewares Now—But For the Best Possible Reason | KQED",
"content": "\u003cp>It’s called \u003ca href=\"https://grossdomesticproduct.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Gross Domestic Product\u003c/i>\u003c/a> and it’s currently on display in a large locked storefront in Croydon, a blue-collar borough of greater London. The collection of Banksy creations appeared overnight and was greeted as a pleasant surprise by locals on Oct. 1. The renegade artist announced its arrival via social media.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FAJKonJ_z/\u003c/p>\n\u003cp>Though the storefront does feature a variety of original Banksy artworks, as well as the infamous Union Jack “stab vest” worn by London emcee \u003ca href=\"https://www.kqed.org/pop/97349/everyone-loves-this-british-mc-for-getting-trapped-in-a-bathroom-stall\" target=\"_blank\" rel=\"noopener\">Stormzy\u003c/a> during his \u003ca href=\"https://www.youtube.com/watch?v=9vgar9pInkg\" target=\"_blank\" rel=\"noopener\">Glastonbury Festival\u003c/a> set last year, \u003ci>Gross Domestic Product\u003c/i> really is a new line of homewares, designed by Banksy, that will go on sale shortly at a new, dedicated website.\u003c/p>\n\u003cfigure id=\"attachment_13867522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867522\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg\" alt=\"The stab vest Banksy designed for Stormzy's headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stab vest Banksy designed for Stormzy’s headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England. \u003ccite>(Chris J Ratcliffe/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range is exactly what you’d expect from the always provocative street artist. There’s a rug that appears to be made from the pelt of Frosted Flakes mascot Tony the Tiger. There are throw pillows that instruct: “LIFE’S TOO SHORT TO TAKE ADVICE FROM A CUSHION.” There are curtain pullbacks made from heavy chains and padlocks, wall clocks that resemble rats running on exercise wheels, and a crib surrounded by CCTV cameras. There are even welcome mats made of life jackets, that were sewn together by refugees from detainment camps in Greece. (All proceeds from the sale will go back to the people that made them.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=43&v=AAQYdtzGcU8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for this unexpected dystopian pop-up shop? A greeting card company is contesting Banksy’s trademark to his own work. “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear,” his lawyer \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">Mark Stephens explained\u003c/a>. “If the trademark holder is not using the mark then it can be transferred to someone who will.” As such, Banksy needed to prove the trademark was still active—\u003ci>Gross Domestic Product\u003c/i> is the result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mugs, plates and clothing are also visible in the windows, and in a statement, Banksy said: “We hope to offer something for everyone, prices start from £10 but availability will be limited.” \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">The artist also clarified\u003c/a> that: “I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don’t want [the greeting card company] to get sole custody of my name.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s called \u003ca href=\"https://grossdomesticproduct.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Gross Domestic Product\u003c/i>\u003c/a> and it’s currently on display in a large locked storefront in Croydon, a blue-collar borough of greater London. The collection of Banksy creations appeared overnight and was greeted as a pleasant surprise by locals on Oct. 1. The renegade artist announced its arrival via social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though the storefront does feature a variety of original Banksy artworks, as well as the infamous Union Jack “stab vest” worn by London emcee \u003ca href=\"https://www.kqed.org/pop/97349/everyone-loves-this-british-mc-for-getting-trapped-in-a-bathroom-stall\" target=\"_blank\" rel=\"noopener\">Stormzy\u003c/a> during his \u003ca href=\"https://www.youtube.com/watch?v=9vgar9pInkg\" target=\"_blank\" rel=\"noopener\">Glastonbury Festival\u003c/a> set last year, \u003ci>Gross Domestic Product\u003c/i> really is a new line of homewares, designed by Banksy, that will go on sale shortly at a new, dedicated website.\u003c/p>\n\u003cfigure id=\"attachment_13867522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867522\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg\" alt=\"The stab vest Banksy designed for Stormzy's headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/GettyImages-1172919452.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stab vest Banksy designed for Stormzy’s headline set at the Glastonbury Festival, on display in the Gross Domestic Product store, Croydon, England. \u003ccite>(Chris J Ratcliffe/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The range is exactly what you’d expect from the always provocative street artist. There’s a rug that appears to be made from the pelt of Frosted Flakes mascot Tony the Tiger. There are throw pillows that instruct: “LIFE’S TOO SHORT TO TAKE ADVICE FROM A CUSHION.” There are curtain pullbacks made from heavy chains and padlocks, wall clocks that resemble rats running on exercise wheels, and a crib surrounded by CCTV cameras. There are even welcome mats made of life jackets, that were sewn together by refugees from detainment camps in Greece. (All proceeds from the sale will go back to the people that made them.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AAQYdtzGcU8'\n title='//www.youtube.com/embed/AAQYdtzGcU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reason for this unexpected dystopian pop-up shop? A greeting card company is contesting Banksy’s trademark to his own work. “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear,” his lawyer \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">Mark Stephens explained\u003c/a>. “If the trademark holder is not using the mark then it can be transferred to someone who will.” As such, Banksy needed to prove the trademark was still active—\u003ci>Gross Domestic Product\u003c/i> is the result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mugs, plates and clothing are also visible in the windows, and in a statement, Banksy said: “We hope to offer something for everyone, prices start from £10 but availability will be limited.” \u003ca href=\"https://www.thisiscolossal.com/2019/10/gross-domestic-product/\" target=\"_blank\" rel=\"noopener\">The artist also clarified\u003c/a> that: “I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don’t want [the greeting card company] to get sole custody of my name.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Conan O’Brien has been hosting late-night TV shows for 26 years—longer than anyone else currently on the air. So when a colleague suggested he start a podcast, he initially balked.\u003c/p>\n\u003cp>“My initial reaction was, ‘Why would I do a podcast? I have a television show,'” O’Brien says. “That should be enough for anybody.”\u003c/p>\n\u003cp>But then O’Brien thought more about the prospect, and he began to reconsider. On television, conversations with guests were constrained by TV cameras and commercial breaks; a podcast would free him to proceed more slowly and dig deeper in conversations.\u003c/p>\n\u003cp>The podcast,\u003ca href=\"https://art19.com/shows/conan-obrien\">\u003cem> Conan O’Brien Needs a Friend\u003c/em>,\u003c/a> featuring O’Brien’s conversations with comics, actors and writers, launched November 2018. Its second season starts Oct. 7.\u003c/p>\n\u003cp>O’Brien says the title of the podcast is a joke—sort of. “Sometimes when you’re in the public eye, it can get murky as to who’s really my friend. Who’s going to come visit me in the hospital? Who’s going to come over to my house when my dog dies and drink cocoa with me? Who are those people?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He appreciates how the podcast allows him to “mind meld” with his guests. “Suddenly all these people who I know in the comedy world, and some in the political world who I’ve known, and we’ve chatted, and we’ve had these seven, eight, nine minute chats on television—I can sit down and we can just go down a deep, deep, deep well, and it’s fascinating,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nnzp9SXZxvo\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the conversations on his podcast differ from those he has with guests on late-night TV \u003c/strong>\u003c/p>\n\u003cp>On television … it’s a very presentational way of having a “conversation.” And this sounds like I’m making a joke, but you need to get makeup. They put makeup on you—especially someone as translucent as I—so that you show up on television. So every day I’m in a chair and they’re painting my skull so that I appear somewhat human. And then the people I’m talking to are painted. And then there’s an audience there and cameras. And so I’ve grown accustomed to that and there’s a lot that I love about it. … But [on the podcast] I’m finding that … I can sit down and have a really long conversation with \u003ca href=\"https://www.npr.org/2019/01/08/683192524/ben-stiller-unlocks-an-old-fashioned-prison-break-in-escape-at-dannemora\">Ben Stiller\u003c/a>—someone who I’ve known since I met him at \u003cem>Saturday Night Live\u003c/em> in, I think, 1990 or 1989—I’ve never really had a long conversation with him.\u003c/p>\n\u003cp>\u003cstrong>On landing the job as host of \u003c/strong>\u003cem>\u003cstrong>Late Night \u003c/strong>\u003c/em>\u003cstrong>in 1993\u003c/strong>\u003c/p>\n\u003cp>Say what you want about my career: Someone can like me; they can despise me; they can completely not care; or be completely neutral about me; but everyone would have to agree that it’s a really unusual career. Just completely unprecedented. The way that I got onto the \u003cem>Late Night\u003c/em> show was absurd. Basically, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4518912\">Lorne Michaels\u003c/a> took a complete Hail Mary pass and said, “I know this writer and he has very little performing experience besides some improv, but I think he could be good.”\u003c/p>\n\u003cp>And I went to an audition and, because I had no chance, was completely relaxed in the audition and did really well. And then NBC said, “Well, we have no other choice.” I mean, that wouldn’t happen today. Today if there was a major late-night spot open, there would be 600 candidates from 600 different cable shows with thousands of hours of content.\u003c/p>\n\u003cp>\u003cstrong>On being on the brink of cancellation during his early career \u003c/strong>\u003c/p>\n\u003cp>I think I was actually canceled at one point in a meeting, and then shortly after the meeting ended they said, “Well, we can’t cancel him yet, because we don’t have his replacement quite ready to go, so let’s un-cancel him, and then cancel him at the next meeting.” And then they just didn’t get around to it. So I was supposed to die about six different times, and just didn’t through some—I don’t know what else to call it other than—dumb luck. And then I think I just got lucky and it caught on just at the right time.\u003c/p>\n\u003cp>\u003cstrong>On the nationwide comedy tour he did after a period of conflict that led to him giving up the \u003c/strong>\u003cem>\u003cstrong>Tonight Show\u003c/strong>\u003c/em>\u003cstrong> in 2010 \u003c/strong>\u003c/p>\n\u003cp>It was therapeutic and satisfying. All I ever wanted to do was make people laugh. I know that sounds corny. I just really do love getting in front of people and making them happy, making them laugh. And so getting to do that on a national tour and really delighting these crowds, that was great.\u003c/p>\n\u003cp>I think the trouble for me came after that tour because I think I emotionally crashed. … I think it was obviously very painful to have to give up the \u003cem>Tonight Show\u003c/em>. And so I avoided that pain by doing this tour where I probably burned 3,000 calories a night, would sweat through my clothes, really give everything I have, then go out and take selfies with a thousand people, then sleep for a couple of hours, but then not be able to sleep on the bus or on the plane. When that tour was over I was skeletal.\u003c/p>\n\u003cp>\u003cstrong>On getting help after the comedy tour ended \u003c/strong>\u003c/p>\n\u003cp>I had always done some therapy, but I got a lot of therapy, and I got some help with medication. That helped a lot. The smartest thing I ever did in my life was to marry my wife in 2002. It’s been 17 years, and she’s just a great partner, and very emotionally intelligent, and my best friend. So she helped me through this. And you have kids, too—I have two children, so that puts things in perspective. … All of those things helped me enormously. I’ve since become a big advocate for people—if they’re going through something and they’re having a hard time—talking to somebody, and getting some professional help.\u003c/p>\n\u003cp>\u003cstrong>On how late-night TV has changed since he started \u003c/strong>\u003c/p>\n\u003cp>I launched my TV show shortly after Johnny Carson retired, so I’m still part of that era. That’s the era I come into. There’s hardly any late-night shows, and having a late-night show is this incredible rarity. There are very few of them. It’s like you’re a senator in Montana in 1880. You get to keep that job for 80 years and then get buried on your massive ranch. That’s how it felt back then. And of course that all, it started slowly, and then it’s just changed multiple times. And now, if you and I try to right now list all of the late-night shows that exist … we’d be hard-pressed to name them all and would forget some because there are that many. So it’s just different.\u003c/p>\n\u003cp>And I think when it first starts to happen, the natural reaction is, “How do I maintain my position? How do I keep what I have?” And I think once you realize the foolishness of that, and just what a waste of time it is, and ultimately unproductive, and just say, “You know what? I like a bunch of these other shows. These people are all very good.” And late-night talk shows have become more specialized. … The shows are completely different from each other, and everyone’s working a certain niche, but a lot of them are really good.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AnnMarie Baldonado and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Seth Kelley and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Conan+O%27Brien+Needs+A+Friend%27+Is+A+Joke+Name+For+A+Podcast+%E2%80%94+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conan O’Brien has been hosting late-night TV shows for 26 years—longer than anyone else currently on the air. So when a colleague suggested he start a podcast, he initially balked.\u003c/p>\n\u003cp>“My initial reaction was, ‘Why would I do a podcast? I have a television show,'” O’Brien says. “That should be enough for anybody.”\u003c/p>\n\u003cp>But then O’Brien thought more about the prospect, and he began to reconsider. On television, conversations with guests were constrained by TV cameras and commercial breaks; a podcast would free him to proceed more slowly and dig deeper in conversations.\u003c/p>\n\u003cp>The podcast,\u003ca href=\"https://art19.com/shows/conan-obrien\">\u003cem> Conan O’Brien Needs a Friend\u003c/em>,\u003c/a> featuring O’Brien’s conversations with comics, actors and writers, launched November 2018. Its second season starts Oct. 7.\u003c/p>\n\u003cp>O’Brien says the title of the podcast is a joke—sort of. “Sometimes when you’re in the public eye, it can get murky as to who’s really my friend. Who’s going to come visit me in the hospital? Who’s going to come over to my house when my dog dies and drink cocoa with me? Who are those people?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He appreciates how the podcast allows him to “mind meld” with his guests. “Suddenly all these people who I know in the comedy world, and some in the political world who I’ve known, and we’ve chatted, and we’ve had these seven, eight, nine minute chats on television—I can sit down and we can just go down a deep, deep, deep well, and it’s fascinating,” he says.\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/nnzp9SXZxvo'\n title='//www.youtube.com/embed/nnzp9SXZxvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the conversations on his podcast differ from those he has with guests on late-night TV \u003c/strong>\u003c/p>\n\u003cp>On television … it’s a very presentational way of having a “conversation.” And this sounds like I’m making a joke, but you need to get makeup. They put makeup on you—especially someone as translucent as I—so that you show up on television. So every day I’m in a chair and they’re painting my skull so that I appear somewhat human. And then the people I’m talking to are painted. And then there’s an audience there and cameras. And so I’ve grown accustomed to that and there’s a lot that I love about it. … But [on the podcast] I’m finding that … I can sit down and have a really long conversation with \u003ca href=\"https://www.npr.org/2019/01/08/683192524/ben-stiller-unlocks-an-old-fashioned-prison-break-in-escape-at-dannemora\">Ben Stiller\u003c/a>—someone who I’ve known since I met him at \u003cem>Saturday Night Live\u003c/em> in, I think, 1990 or 1989—I’ve never really had a long conversation with him.\u003c/p>\n\u003cp>\u003cstrong>On landing the job as host of \u003c/strong>\u003cem>\u003cstrong>Late Night \u003c/strong>\u003c/em>\u003cstrong>in 1993\u003c/strong>\u003c/p>\n\u003cp>Say what you want about my career: Someone can like me; they can despise me; they can completely not care; or be completely neutral about me; but everyone would have to agree that it’s a really unusual career. Just completely unprecedented. The way that I got onto the \u003cem>Late Night\u003c/em> show was absurd. Basically, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4518912\">Lorne Michaels\u003c/a> took a complete Hail Mary pass and said, “I know this writer and he has very little performing experience besides some improv, but I think he could be good.”\u003c/p>\n\u003cp>And I went to an audition and, because I had no chance, was completely relaxed in the audition and did really well. And then NBC said, “Well, we have no other choice.” I mean, that wouldn’t happen today. Today if there was a major late-night spot open, there would be 600 candidates from 600 different cable shows with thousands of hours of content.\u003c/p>\n\u003cp>\u003cstrong>On being on the brink of cancellation during his early career \u003c/strong>\u003c/p>\n\u003cp>I think I was actually canceled at one point in a meeting, and then shortly after the meeting ended they said, “Well, we can’t cancel him yet, because we don’t have his replacement quite ready to go, so let’s un-cancel him, and then cancel him at the next meeting.” And then they just didn’t get around to it. So I was supposed to die about six different times, and just didn’t through some—I don’t know what else to call it other than—dumb luck. And then I think I just got lucky and it caught on just at the right time.\u003c/p>\n\u003cp>\u003cstrong>On the nationwide comedy tour he did after a period of conflict that led to him giving up the \u003c/strong>\u003cem>\u003cstrong>Tonight Show\u003c/strong>\u003c/em>\u003cstrong> in 2010 \u003c/strong>\u003c/p>\n\u003cp>It was therapeutic and satisfying. All I ever wanted to do was make people laugh. I know that sounds corny. I just really do love getting in front of people and making them happy, making them laugh. And so getting to do that on a national tour and really delighting these crowds, that was great.\u003c/p>\n\u003cp>I think the trouble for me came after that tour because I think I emotionally crashed. … I think it was obviously very painful to have to give up the \u003cem>Tonight Show\u003c/em>. And so I avoided that pain by doing this tour where I probably burned 3,000 calories a night, would sweat through my clothes, really give everything I have, then go out and take selfies with a thousand people, then sleep for a couple of hours, but then not be able to sleep on the bus or on the plane. When that tour was over I was skeletal.\u003c/p>\n\u003cp>\u003cstrong>On getting help after the comedy tour ended \u003c/strong>\u003c/p>\n\u003cp>I had always done some therapy, but I got a lot of therapy, and I got some help with medication. That helped a lot. The smartest thing I ever did in my life was to marry my wife in 2002. It’s been 17 years, and she’s just a great partner, and very emotionally intelligent, and my best friend. So she helped me through this. And you have kids, too—I have two children, so that puts things in perspective. … All of those things helped me enormously. I’ve since become a big advocate for people—if they’re going through something and they’re having a hard time—talking to somebody, and getting some professional help.\u003c/p>\n\u003cp>\u003cstrong>On how late-night TV has changed since he started \u003c/strong>\u003c/p>\n\u003cp>I launched my TV show shortly after Johnny Carson retired, so I’m still part of that era. That’s the era I come into. There’s hardly any late-night shows, and having a late-night show is this incredible rarity. There are very few of them. It’s like you’re a senator in Montana in 1880. You get to keep that job for 80 years and then get buried on your massive ranch. That’s how it felt back then. And of course that all, it started slowly, and then it’s just changed multiple times. And now, if you and I try to right now list all of the late-night shows that exist … we’d be hard-pressed to name them all and would forget some because there are that many. So it’s just different.\u003c/p>\n\u003cp>And I think when it first starts to happen, the natural reaction is, “How do I maintain my position? How do I keep what I have?” And I think once you realize the foolishness of that, and just what a waste of time it is, and ultimately unproductive, and just say, “You know what? I like a bunch of these other shows. These people are all very good.” And late-night talk shows have become more specialized. … The shows are completely different from each other, and everyone’s working a certain niche, but a lot of them are really good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a skit that didn’t even make it into a \u003cem>Saturday Night Live\u003c/em> broadcast. In “Alan,” Bill Hader starred as “the future of casual entertainment”: a robot that dances in a goofy, dad-friendly way that never quite progresses past the point of pedestrian. The very funny bit was cut for time in 2015, but thankfully found its way online after the episode aired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=xplEPT5I39E\u003c/p>\n\u003cp>Now, a new Twitter account is taking the Alan to new and seemingly boundless heights thanks to the discovery that Hader’s dancing in the skit goes with, well, absolutely everything. And somehow, the more videos \u003ca href=\"https://twitter.com/billhaderdancin\" target=\"_blank\" rel=\"noopener\">@billhaderdancin\u003c/a> posts, the funnier this gets. Observe.\u003c/p>\n\u003cp>The Alan works with classic rock:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178009490765033472?s=20\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178321115845926914?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1178321115845926914&ref_url=https%3A%2F%2Fwww.dailydot.com%2Funclick%2Fbill-hader-dancing-meme%2F\u003c/p>\n\u003cp>He works with contemporary pop:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1177651408474198017\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178372131719122946\u003c/p>\n\u003cp>And he even works with indie rock tunes:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1176507672503431168\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1174121070678482944\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An 18-year-old Florida woman named \u003ca href=\"https://twitter.com/lustsfilm\" target=\"_blank\" rel=\"noopener\">Sam\u003c/a>, a big fan of Hader and Keanu Reeves, discovered the versatility of the Alan dance and launched the account on September 17. Its videos have already garnered well over a million views. No wonder—thanks to Hader’s inability to do anything badly, this is destined to be a gift that keeps on giving.\u003c/p>\n\n",
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"content": "\u003cp>A few weeks ago, a young woman named Natalie Beach wrote an exposé for \u003ca href=\"https://www.thecut.com/2019/09/the-story-of-caroline-calloway-and-her-ghostwriter-natalie.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cut\u003c/em>\u003c/a> about her friendship and working life with controversial influencer, \u003ca href=\"https://www.instagram.com/carolinecalloway/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Calloway\u003c/a>. It caused a stir on social media, some extremely \u003ca href=\"https://www.instagram.com/p/B2YEL-0BzyP/\" target=\"_blank\" rel=\"noopener noreferrer\">erratic behavior\u003c/a> from Calloway on her Instagram, and a story in \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/09/i-get-caroline-calloway/598918/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> that sought to undo any damage.\u003c/p>\n\u003cp>In the \u003cem>Cut\u003c/em> story, Beach gripes about trying to keep up with her richer, better dressed friend Calloway, as the two travel Europe producing Instagram content for which Beach is compensated and Calloway takes all the credit. The “big” reveals of the piece are that: Calloway didn’t write a book that Beach would have financially benefitted from (it’s worth noting that no contracts between the two were ever signed), and that Calloway left Beach locked out of a hotel room in Amsterdam one night because Beach didn’t wind up hooking up with a bartender after all. Sure, Calloway sounds annoying. But, frankly, so does Beach.\u003c/p>\n\u003cp>Throughout the article, Beach tries to depict herself as a hapless victim who was too enthralled by a charismatic woman, too convinced of the validity of social media content creation. She talks repeatedly of being “broke,” even as she describes traveling extensively, eating out frequently, and living in New York City. At one point, she talks about being paid $200 a week to prep Calloway’s Airbnb for new guests, as if it’s slave labor.\u003c/p>\n\u003cp>In critiquing the life of the famous influencer she used to work with though, Natalie Beach overnight became a writer-to-watch. Over the weekend, during an appearance on the \u003ca href=\"https://redscarepodcast.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Red Scare\u003c/em>\u003c/a> podcast, Calloway claimed Beach now has a \u003ca href=\"https://www.dailydot.com/upstream/caroline-calloway-natalie-beach-movie-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">$1 million movie deal\u003c/a> with Ryan Murphy to tell the story of their friendship.\u003c/p>\n\u003cp>It isn’t working with a social media influencer that has put Beach on the map, then—it’s complaining about it after the fact. And it is becoming increasingly clear that what just happened for Beach isn’t a fluke, it’s a full-blown trend. What’s more, some of the people critiquing online influencers are now also directly benefiting from the same system that supports them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take, for example, Australian YouTuber \u003ca href=\"https://www.youtube.com/channel/UCrroaGjAjAjqXEjqdsjLMIw\" target=\"_blank\" rel=\"noopener noreferrer\">Currently Hannah\u003c/a>, who recently donned an American accent, threw on several swimsuits, then put together a 3-minute clip highlighting the artifice and contrived nature of many travel vlogs. If you don’t know who Currently Hannah is, it all seems fairly hilarious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=81&v=wnI8TA8XCt4\u003c/p>\n\u003cp>The problem is, the videos Hannah regularly produces for her 149,000 subscribers are almost identical to the parody she made. (Which is probably why she felt the need to follow it with a 3-minute explanation about how much she’s \u003cem>not\u003c/em> making fun of other travel vloggers.)\u003c/p>\n\u003cp>Below is one of Hannah’s regular clips. You’ll notice it features a multitude of things she made fun of in the parody, including: “uplifting cinematic music”; “the right dramatic pauses”; “places like untouched waterfalls, pristine rice fields, mountains I didn’t climb, and blue-ass water”; “swimming in the clearest water you’ve ever seen”; “a surprising amount of sexually seductive movement”; “not [showing] you the stress of making our flights on time”; “white sand” and “slow motion palm trees.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=77BckjW3cRQ\u003c/p>\n\u003cp>When Hannah says in the parody that she’s “here to show you how amazing my life is, but not how you can do it yourself,” she is obliviously describing her own work. In a rational world, a critique of misleading narratives sold by social media influencers should probably not be made by one of those influencers. It doesn’t matter—the parody clip is Hannah’s most-watched video in about a year.\u003c/p>\n\u003cp>Hannah is not the only YouTuber actively trying to portray themselves as less pretentious than their peers. Take, for example, \u003ca href=\"https://www.youtube.com/user/AwakenWithJP/videos\" target=\"_blank\" rel=\"noopener noreferrer\">AwakenWithJP\u003c/a>. JP Sears’ online persona is a parody of holistically-inclined social media influencers, but the lines between his real-life personality and online persona are so blurred in so many videos (like the one below where he makes fun of ‘How To’ videos about getting perfect abs, while also sporting perfect abs), Sears is forced to admit in the “About” section of his channel: “Satirical and serious are two parts that make the whole of me and what I do.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T66UyxiPr-I\u003c/p>\n\u003cp>Regardless of that strange juxtaposition, making fun of other influencers who hold similar values has earned Sears enough followers to be classed as one.\u003c/p>\n\u003cp>Though less popular (27,000 subscribers vs. Sears’ 808,000), Alysse Paris has also garnered millions of views on YouTube by making fun of \u003ca href=\"https://www.youtube.com/watch?v=bT44_1mZMQI&t=116s\" target=\"_blank\" rel=\"noopener noreferrer\">exercise videos\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=sp1CZcJTtd4\" target=\"_blank\" rel=\"noopener noreferrer\">beauty vloggers\u003c/a>, Instagrammers and \u003ca href=\"https://www.youtube.com/watch?v=T8UwhCPj8cU\" target=\"_blank\" rel=\"noopener noreferrer\">health bloggers\u003c/a>. The fact that Paris is as conventionally physically attractive as the influencers she’s making fun of can’t help but factor into her appeal, but she presents her often flawless appearance as something that is merely part of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xISv41LaheA&t=27s\u003c/p>\n\u003cp>All of this, of course, is beyond meta. It’s the proverbial snake eating its own tail. Even more remarkably, it was all predicted by \u003cem>Ingrid Goes West\u003c/em>; arguably the most astute movie about social media culture of our times. In the film, Ingrid (Aubrey Plaza), a lonely, disaffected woman, figures out how to befriend Taylor (Elizabeth Olsen), a popular social media influencer, in an attempt to transform her own life into something like the one she sees on Taylor’s Instagram.\u003c/p>\n\u003cp>At the climax of the movie, what the viewer thinks will be the end of Ingrid—her exposure as a liar, her excommunication from Taylor’s friend group, her attempt to commit suicide on camera—ends up being the thing that propels her to her own stardom. It is when she comes clean, and talks about social media being an elaborate fabrication, that she finally acquires her own influencer status. That very thing is now being mirrored in reality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xP4vD1tWbPU\u003c/p>\n\u003cp>The plot of the 2017 movie is now so of the moment that Natalie Beach even referenced it in her \u003cem>Cut\u003c/em> article, claiming that people ask her if Caroline Calloway is “both characters from \u003cem>Ingrid Goes West\u003c/em>.” A closer analogy (at least if you take the movie’s kidnapping and violence out of the mix) would very much leave Beach in the Ingrid role. It’s unlikely she realizes that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the heady mix of trying to be simultaneously perfect and relatable is one that has always made influencers and vloggers ripe for mockery, increasingly, the people pointing the finger look more and more like the people they’re making fun of. In the vast sea of social media influencers and YouTube personalities, it makes sense that individuals will do just about anything to stand out—including ignoring their own hypocrisy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, a young woman named Natalie Beach wrote an exposé for \u003ca href=\"https://www.thecut.com/2019/09/the-story-of-caroline-calloway-and-her-ghostwriter-natalie.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cut\u003c/em>\u003c/a> about her friendship and working life with controversial influencer, \u003ca href=\"https://www.instagram.com/carolinecalloway/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Calloway\u003c/a>. It caused a stir on social media, some extremely \u003ca href=\"https://www.instagram.com/p/B2YEL-0BzyP/\" target=\"_blank\" rel=\"noopener noreferrer\">erratic behavior\u003c/a> from Calloway on her Instagram, and a story in \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/09/i-get-caroline-calloway/598918/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> that sought to undo any damage.\u003c/p>\n\u003cp>In the \u003cem>Cut\u003c/em> story, Beach gripes about trying to keep up with her richer, better dressed friend Calloway, as the two travel Europe producing Instagram content for which Beach is compensated and Calloway takes all the credit. The “big” reveals of the piece are that: Calloway didn’t write a book that Beach would have financially benefitted from (it’s worth noting that no contracts between the two were ever signed), and that Calloway left Beach locked out of a hotel room in Amsterdam one night because Beach didn’t wind up hooking up with a bartender after all. Sure, Calloway sounds annoying. But, frankly, so does Beach.\u003c/p>\n\u003cp>Throughout the article, Beach tries to depict herself as a hapless victim who was too enthralled by a charismatic woman, too convinced of the validity of social media content creation. She talks repeatedly of being “broke,” even as she describes traveling extensively, eating out frequently, and living in New York City. At one point, she talks about being paid $200 a week to prep Calloway’s Airbnb for new guests, as if it’s slave labor.\u003c/p>\n\u003cp>In critiquing the life of the famous influencer she used to work with though, Natalie Beach overnight became a writer-to-watch. Over the weekend, during an appearance on the \u003ca href=\"https://redscarepodcast.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Red Scare\u003c/em>\u003c/a> podcast, Calloway claimed Beach now has a \u003ca href=\"https://www.dailydot.com/upstream/caroline-calloway-natalie-beach-movie-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">$1 million movie deal\u003c/a> with Ryan Murphy to tell the story of their friendship.\u003c/p>\n\u003cp>It isn’t working with a social media influencer that has put Beach on the map, then—it’s complaining about it after the fact. And it is becoming increasingly clear that what just happened for Beach isn’t a fluke, it’s a full-blown trend. What’s more, some of the people critiquing online influencers are now also directly benefiting from the same system that supports them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take, for example, Australian YouTuber \u003ca href=\"https://www.youtube.com/channel/UCrroaGjAjAjqXEjqdsjLMIw\" target=\"_blank\" rel=\"noopener noreferrer\">Currently Hannah\u003c/a>, who recently donned an American accent, threw on several swimsuits, then put together a 3-minute clip highlighting the artifice and contrived nature of many travel vlogs. If you don’t know who Currently Hannah is, it all seems fairly hilarious.\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/wnI8TA8XCt4'\n title='//www.youtube.com/embed/wnI8TA8XCt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The problem is, the videos Hannah regularly produces for her 149,000 subscribers are almost identical to the parody she made. (Which is probably why she felt the need to follow it with a 3-minute explanation about how much she’s \u003cem>not\u003c/em> making fun of other travel vloggers.)\u003c/p>\n\u003cp>Below is one of Hannah’s regular clips. You’ll notice it features a multitude of things she made fun of in the parody, including: “uplifting cinematic music”; “the right dramatic pauses”; “places like untouched waterfalls, pristine rice fields, mountains I didn’t climb, and blue-ass water”; “swimming in the clearest water you’ve ever seen”; “a surprising amount of sexually seductive movement”; “not [showing] you the stress of making our flights on time”; “white sand” and “slow motion palm trees.”\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/77BckjW3cRQ'\n title='//www.youtube.com/embed/77BckjW3cRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Hannah says in the parody that she’s “here to show you how amazing my life is, but not how you can do it yourself,” she is obliviously describing her own work. In a rational world, a critique of misleading narratives sold by social media influencers should probably not be made by one of those influencers. It doesn’t matter—the parody clip is Hannah’s most-watched video in about a year.\u003c/p>\n\u003cp>Hannah is not the only YouTuber actively trying to portray themselves as less pretentious than their peers. Take, for example, \u003ca href=\"https://www.youtube.com/user/AwakenWithJP/videos\" target=\"_blank\" rel=\"noopener noreferrer\">AwakenWithJP\u003c/a>. JP Sears’ online persona is a parody of holistically-inclined social media influencers, but the lines between his real-life personality and online persona are so blurred in so many videos (like the one below where he makes fun of ‘How To’ videos about getting perfect abs, while also sporting perfect abs), Sears is forced to admit in the “About” section of his channel: “Satirical and serious are two parts that make the whole of me and what I do.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T66UyxiPr-I'\n title='//www.youtube.com/embed/T66UyxiPr-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Regardless of that strange juxtaposition, making fun of other influencers who hold similar values has earned Sears enough followers to be classed as one.\u003c/p>\n\u003cp>Though less popular (27,000 subscribers vs. Sears’ 808,000), Alysse Paris has also garnered millions of views on YouTube by making fun of \u003ca href=\"https://www.youtube.com/watch?v=bT44_1mZMQI&t=116s\" target=\"_blank\" rel=\"noopener noreferrer\">exercise videos\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=sp1CZcJTtd4\" target=\"_blank\" rel=\"noopener noreferrer\">beauty vloggers\u003c/a>, Instagrammers and \u003ca href=\"https://www.youtube.com/watch?v=T8UwhCPj8cU\" target=\"_blank\" rel=\"noopener noreferrer\">health bloggers\u003c/a>. The fact that Paris is as conventionally physically attractive as the influencers she’s making fun of can’t help but factor into her appeal, but she presents her often flawless appearance as something that is merely part of the joke.\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/xISv41LaheA'\n title='//www.youtube.com/embed/xISv41LaheA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this, of course, is beyond meta. It’s the proverbial snake eating its own tail. Even more remarkably, it was all predicted by \u003cem>Ingrid Goes West\u003c/em>; arguably the most astute movie about social media culture of our times. In the film, Ingrid (Aubrey Plaza), a lonely, disaffected woman, figures out how to befriend Taylor (Elizabeth Olsen), a popular social media influencer, in an attempt to transform her own life into something like the one she sees on Taylor’s Instagram.\u003c/p>\n\u003cp>At the climax of the movie, what the viewer thinks will be the end of Ingrid—her exposure as a liar, her excommunication from Taylor’s friend group, her attempt to commit suicide on camera—ends up being the thing that propels her to her own stardom. It is when she comes clean, and talks about social media being an elaborate fabrication, that she finally acquires her own influencer status. That very thing is now being mirrored in reality.\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/xP4vD1tWbPU'\n title='//www.youtube.com/embed/xP4vD1tWbPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The plot of the 2017 movie is now so of the moment that Natalie Beach even referenced it in her \u003cem>Cut\u003c/em> article, claiming that people ask her if Caroline Calloway is “both characters from \u003cem>Ingrid Goes West\u003c/em>.” A closer analogy (at least if you take the movie’s kidnapping and violence out of the mix) would very much leave Beach in the Ingrid role. It’s unlikely she realizes that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the heady mix of trying to be simultaneously perfect and relatable is one that has always made influencers and vloggers ripe for mockery, increasingly, the people pointing the finger look more and more like the people they’re making fun of. In the vast sea of social media influencers and YouTube personalities, it makes sense that individuals will do just about anything to stand out—including ignoring their own hypocrisy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For Kevin Brown, distance is no object. Not looking directly at the basket is no impediment. And physical obstacles mean nothing. The East Bay man has developed a magical ability to get basketballs through hoops, with his back turned and with minimal effort.\u003c/p>\n\u003cp>Brown’s bizarre skill has to be seen to be believed—which is why he started an Instagram account called \u003ca href=\"https://www.instagram.com/hoopseyemade/\" target=\"_blank\" rel=\"noopener\">@hoopseyemade\u003c/a>. The joy he and his two kids, Ian and Oliver, express every time he sinks another is totally infectious.\u003c/p>\n\u003cp>https://www.instagram.com/p/BwIYOvsB1b_/\u003c/p>\n\u003cp>“Back in December, I was shooting hoops with my brother-in-law and I threw the ball from the other side of the court and it went in,” Brown tells KQED. “I decided to take it up a notch and try throwing it behind my back. Wouldn’t you know, I found my hidden talent! Now I pretty much keep a basketball in my car wherever I go and keep an eye out for new hoops.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B1hof1bBKCW/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I usually say ‘Kobe!’ when I shoot a hoop,” Brown explains. “I’m not really a fan, it was just a funny thing that my brother-in-law would always say when we were taking crazy shots. Now I can’t help but say it almost every time.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B1KMF40BS8d/\u003c/p>\n\u003cp>When not throwing balls at hoops backwards, Brown is a \u003ca href=\"https://www.instagram.com/WhatEyeScene/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and drummer for local bands \u003ca href=\"https://www.facebook.com/pg/JackalFleece/about/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Jackal Fleece\u003c/a> and \u003ca href=\"https://www.facebook.com/essesoakland/\" target=\"_blank\" rel=\"noopener\">Esses\u003c/a>. “I am traveling to Europe with Esses in October,” Brown says, “and there are already some people eagerly awaiting my arrival, claiming they’re going to install a hoop on the stage, or saying that there’s a hoop on top of an old WWII bunker near their house that they want to take me to. So stay tuned for international HoopsEyeMade! Yes, this is my new life.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BzejFw2B66t/\u003c/p>\n\u003cp>Brown hasn’t played basketball on a team since he was 10 years old, and spends a maximum of 15 minutes playing a day, depending on which park he’s taking his children to. “It does make me happy that so many people have told me that watching the videos brings them joy and laughter,” Brown says. “That’s what we all need more of these days.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/B2PSzY5BYns/\u003c/p>\n\n",
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"headTitle": "6 1/2 Reasons ‘Between Two Ferns: The Movie’ Defies The Sketch-Into-Movie Curse | KQED",
"content": "\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OjljgkCQv5c\u003c/p>\n\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\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/OjljgkCQv5c'\n title='//www.youtube.com/embed/OjljgkCQv5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\n\u003cp>https://twitter.com/mrjimbecks/status/1176097881331290113\u003c/p>\n\u003cp>https://twitter.com/PublicBenjamin/status/1176209518604296192\u003c/p>\n\u003cp>https://twitter.com/linecon0/status/1176072657391038465\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vgT4Y30DkaA\u003c/p>\n\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=120wGLgCTkg\u003c/p>\n\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\n\u003cp>https://twitter.com/MrJSnod/status/1176138007205863424\u003c/p>\n\u003cp>https://twitter.com/DavidWPoole73/status/1176189847268184069\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JudasDJs/status/1176069665057071105\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\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/vgT4Y30DkaA'\n title='//www.youtube.com/embed/vgT4Y30DkaA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\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/120wGLgCTkg'\n title='//www.youtube.com/embed/120wGLgCTkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. 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"title": "In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams",
"headTitle": "In Golden Age Hollywood, Film Stars Slid Into Each Others’ Telegrams | KQED",
"content": "\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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