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"title": "How to Watch Zendaya Win the 2024 Met Gala Red Carpet",
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"content": "\u003cp>Aaah, Zendaya. Oakland-born goddess. Desert warrior of \u003cem>Dune\u003c/em>. Marvel mistress. Disney star. Dazzling denizen of red carpets everywhere. All this, and on May 6, Zendaya is stepping out in a brand new role: co-chair of the \u003ca href=\"https://www.kqed.org/arts/tag/met-gala\">Met Gala\u003c/a>.\u003c/p>\n\u003cp>What does a Met Gala co-chair do exactly? Well, basically, it means you’re hand-picked by (let’s be real) scary \u003cem>Vogue\u003c/em> editor Anna Wintour to help make decisions about the gala’s theme (\u003cem>Sleeping Beauties: Reawakening Fashion\u003c/em>), dinner and performers. This year, Zendaya was selected along with J.Lo, Bad Bunny and Chris Hemsworth for the job. And sure, OK, we might be a teeny bit biased, but if this red carpet is a contest (and we all know that it is), Zendaya is going to win the night.\u003c/p>\n\u003cp>How do we know? The following 5 reasons.\u003c/p>\n\u003ch2>1. Zendaya at the 2019 Met Gala\u003c/h2>\n\u003cp>The last time Zendaya attended the Met Gala, she did a literal magic trick on the red carpet. The theme that year was \u003cem>Camp: Notes on Fashion\u003c/em>. She teamed up with Tommy Hilfiger to come up with this light-up Cinderella moment, which nods to her beginnings as a Disney Channel child star.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iJEUt0w1B94\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If Zendaya did this for \u003cem>Camp\u003c/em>, just think what she’s going to do as host for \u003cem>Sleeping Beauties\u003c/em>. More ethereal glory awaits!\u003c/p>\n\u003ch2>2. Zendaya at the 2018 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957126\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-955770278-scaled-e1714682523213.jpg\" alt=\"A beautiful young woman with a red bob stands on a white carpet surrounded by photographers, wearing a dress made of chainmail and armor.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2018 Met Gala, just Joan of Arc-ing it up. \u003ccite>(Neilson Barnard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of the 2018 Met Gala was \u003cem>Heavenly Bodies: Fashion & The Catholic Imagination\u003c/em>. Kim Kardashian showed up in a gold gown with a cross stuck on the hip. Katy Perry wore a gold gown with giant wings attached. Sarah Jessica Parker donned a gold gown with a miniature chapel on her head. Cardi B accessorized her gold gown with a halo thing on her face. Then Zendaya rolled up like, “Hold my sword, chumps,” in this nod to Joan of Arc badassery. Combining strength and elegance has never looked so cool.\u003c/p>\n\u003ch2>3. Zendaya at the 2017 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-677358932-scaled-e1714683330678.jpg\" alt=\"A young Black woman with natural hair stands at the foot of a staircase wearing a red and orange off the shoulder gown featuring a bold pattern including parrots. \" width=\"1920\" height=\"1680\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2017 Met Gala. \u003ccite>(Karwai Tang/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In honor of 2017’s \u003cem>Rei Kawakubo/Comme des Garçons: Art Of The In-Between \u003c/em>theme, Zendaya showed up on the Met Gala steps wearing a Dolce & Gabbana parrot-themed gown and — more importantly — her hair in a beautiful, exaggerated afro. That style choice was made just two years after Guiliana Rancic had said the actress’ dreadlocks at the 2015 Academy Awards made her look like she “\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">smells like patchouli oil or weed\u003c/a>.”\u003c/p>\n\u003cp>[aside postid='arts_13928464']In a since-removed post on Instagram, Zendaya responded to Rancic, noting: “I was hit with ignorant slurs and pure disrespect … To say that an 18-year-old young woman with locs must smell of patchouli oil or ‘weed’ is not only a large stereotype but outrageously offensive. I don’t usually feel the need to respond to negative things but certain remarks cannot go unchecked.”\u003c/p>\n\u003cp>There can be little doubt that this 2017 Met Gala hair moment was a middle finger to fashion white supremacy — and it was glorious.\u003c/p>\n\u003ch2>4. Zendaya at the 2016 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957137\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg\" alt=\"A young, slender Black woman stands on a white and red carpet wearing a form-fitting, one-shouldered gold gown and sleek bowl hairstyle.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2016 Met Gala. \u003ccite>(Taylor Hill/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme was \u003cem>Manus x Machina: Fashion in an Age of Technology.\u003c/em> Zendaya channeled Alicia Vikander in \u003cem>Ex Machina\u003c/em> but made it high fashion. In the process, she reminded us that Michael Kors still occasionally makes genuinely cool clothing — a feat even more spectacular than making helmet hair seem like a good idea.\u003c/p>\n\u003ch2>5. Zendaya at every ‘Challengers’ promo\u003c/h2>\n\u003cfigure id=\"attachment_13957162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tennis-z-scaled-e1714689329514.jpg\" alt=\"Three separate images of a young, slender Black woman wearing sleek dresses.\" width=\"1920\" height=\"1436\">\u003cfigcaption class=\"wp-caption-text\">Zendaya promoting her 2024 film ‘Challengers’ in (left to right) London, Los Angeles and Italy. \u003ccite>((L) Mike Marsland/ WireImage; (C) Eric Charbonneau/ Getty Images for Amazon MGM Studios; (R) Marilla Sicilia/ Archivio Marilla Sicilia/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do you make tennis sexy? Aside from having Luca Guadagnino make \u003ca href=\"https://www.kqed.org/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist\">a movie about three very hot young people\u003c/a> doing an \u003ca href=\"https://www.kqed.org/arts/13957096/challengers-throuple-zendaya-polyamorous-couple\">unethical throuple\u003c/a> between bouts of sweaty on-the-court action? Zendaya has been offering a masterclass for months now, as she promotes that movie — \u003cem>Challengers\u003c/em> — in a series of outfits that nod to the demure formalwear tennis prides itself on and making it, well, kinda slutty. Game, set, match, lady. Game, set, match.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can watch Zendaya — and everyone else, I guess — arrive at the Met Gala on May 6, 2024. Cable subscribers can see the action live on \u003ca href=\"https://www.eonline.com/news/1399387/how-to-watch-the-2024-met-gala-and-live-from-e-on-tv-and-online\">E! starting at 6 p.m.\u003c/a>, while everyone else can catch it on \u003ca href=\"https://www.vogue.com/article/watch-met-gala-live-stream-2023\">Vogue’s livestream\u003c/a>, starting at 3 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a since-removed post on Instagram, Zendaya responded to Rancic, noting: “I was hit with ignorant slurs and pure disrespect … To say that an 18-year-old young woman with locs must smell of patchouli oil or ‘weed’ is not only a large stereotype but outrageously offensive. I don’t usually feel the need to respond to negative things but certain remarks cannot go unchecked.”\u003c/p>\n\u003cp>There can be little doubt that this 2017 Met Gala hair moment was a middle finger to fashion white supremacy — and it was glorious.\u003c/p>\n\u003ch2>4. Zendaya at the 2016 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957137\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg\" alt=\"A young, slender Black woman stands on a white and red carpet wearing a form-fitting, one-shouldered gold gown and sleek bowl hairstyle.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2016 Met Gala. \u003ccite>(Taylor Hill/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme was \u003cem>Manus x Machina: Fashion in an Age of Technology.\u003c/em> Zendaya channeled Alicia Vikander in \u003cem>Ex Machina\u003c/em> but made it high fashion. In the process, she reminded us that Michael Kors still occasionally makes genuinely cool clothing — a feat even more spectacular than making helmet hair seem like a good idea.\u003c/p>\n\u003ch2>5. Zendaya at every ‘Challengers’ promo\u003c/h2>\n\u003cfigure id=\"attachment_13957162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tennis-z-scaled-e1714689329514.jpg\" alt=\"Three separate images of a young, slender Black woman wearing sleek dresses.\" width=\"1920\" height=\"1436\">\u003cfigcaption class=\"wp-caption-text\">Zendaya promoting her 2024 film ‘Challengers’ in (left to right) London, Los Angeles and Italy. \u003ccite>((L) Mike Marsland/ WireImage; (C) Eric Charbonneau/ Getty Images for Amazon MGM Studios; (R) Marilla Sicilia/ Archivio Marilla Sicilia/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do you make tennis sexy? Aside from having Luca Guadagnino make \u003ca href=\"https://www.kqed.org/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist\">a movie about three very hot young people\u003c/a> doing an \u003ca href=\"https://www.kqed.org/arts/13957096/challengers-throuple-zendaya-polyamorous-couple\">unethical throuple\u003c/a> between bouts of sweaty on-the-court action? Zendaya has been offering a masterclass for months now, as she promotes that movie — \u003cem>Challengers\u003c/em> — in a series of outfits that nod to the demure formalwear tennis prides itself on and making it, well, kinda slutty. Game, set, match, lady. Game, set, match.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can watch Zendaya — and everyone else, I guess — arrive at the Met Gala on May 6, 2024. Cable subscribers can see the action live on \u003ca href=\"https://www.eonline.com/news/1399387/how-to-watch-the-2024-met-gala-and-live-from-e-on-tv-and-online\">E! starting at 6 p.m.\u003c/a>, while everyone else can catch it on \u003ca href=\"https://www.vogue.com/article/watch-met-gala-live-stream-2023\">Vogue’s livestream\u003c/a>, starting at 3 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the warmly charming rom-com \u003cem>The Idea of You\u003c/em>, Anne Hathaway plays a 40-year-old divorcee and Silver Lake art gallery owner who, after taking her teenage daughter to Coachella, becomes romantically involved with a 24-year-old heartthrob in the boy band August Moon. They first meet after she mistakes his trailer for the bathroom.\u003c/p>\n\u003cp>There are a few hundred things about this premise that might be farfetched, including the odds of finding love anywhere near the porta johns of a music festival. But one of them is not that a young star like Hayes Campbell (Nicholas Galitzine) would fall for a single mom like Solène (Hathaway).\u003c/p>\n\u003cp>[aside postid='arts_13956724']Solène is stylish, unimpressed by Hayes’ celebrity and has bangs so perfect they look genetically modified. And, most importantly, she’s Anne Hathaway. In the power dynamics of \u003cem>The Idea of You\u003c/em>, Hayes may be a fictional pop star but Hathaway is a very real movie star. And you don’t forget it for a moment in Michael Showalter’s lightly appealing showcase of the actor at her resplendent best.\u003c/p>\n\u003cp>\u003cem>The Idea of You\u003c/em>, which debuts Thursday on Prime Video, is full of all the kinds of contradictions that can make a rom-com work. The highly glamorous, megawatt-smiling Hathaway is playing a down-to-earth nobody. The showbiz veteran in the movie is played by Galitzine, a less well-known but up-and-coming British actor whose performance in the movie is quite authentic. And even though the whole scenario is undeniably a glossy high-concept Hollywood fairy tale, Showalter gives it enough texture that \u003cem>The Idea of You\u003c/em> comes off more natural and sincere than you’d expect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V8i6PB0gGOA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only thing that really needs to make perfect sense in a movie like \u003cem>The Idea of You\u003c/em> is the chemistry. The film, penned by Showalter and Jennifer Westfeldt from Robinne Lee’s bestseller, takes its time in the early scenes between Solène and Hayes — first at Coachella, then when he stops by her gallery — allowing their rapport to build convincingly, and giving each actor plenty of time to smolder.\u003c/p>\n\u003cp>[aside postid='arts_13956512']Once the steamy hotel-room encounters come in \u003cem>The Idea of You\u003c/em>, the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband (Reid Scott) cheated on her. This is a fairy tale she deserves.\u003c/p>\n\u003cp>While Showalter (\u003cem>The Big Sick\u003c/em>) has long showed a great gift for juggling comedy and drama at once, \u003cem>The Idea of You\u003c/em> leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.\u003c/p>\n\u003cp>The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.\u003c/p>\n\u003cp>There are surely more interesting and funnier places \u003cem>The Idea of You\u003c/em> could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.\u003c/p>\n\u003cp>[aside postid='arts_13956892']But the most convincing thing about\u003cem> The Idea of You\u003c/em>? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.\u003c/p>\n\u003cp>That connection will probably only further the sense that \u003cem>The Idea of You\u003c/em> is very nearly \u003cem>The Idea of Harry Styles\u003c/em>. The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of \u003cem>Turning Red\u003c/em> (whose songs were penned by Billie Eilish and Finneas O’Connell), we are living in the golden age of the fictional boy band.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Idea of You’ begins streaming on Prime Video on May 2, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the warmly charming rom-com \u003cem>The Idea of You\u003c/em>, Anne Hathaway plays a 40-year-old divorcee and Silver Lake art gallery owner who, after taking her teenage daughter to Coachella, becomes romantically involved with a 24-year-old heartthrob in the boy band August Moon. They first meet after she mistakes his trailer for the bathroom.\u003c/p>\n\u003cp>There are a few hundred things about this premise that might be farfetched, including the odds of finding love anywhere near the porta johns of a music festival. But one of them is not that a young star like Hayes Campbell (Nicholas Galitzine) would fall for a single mom like Solène (Hathaway).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Solène is stylish, unimpressed by Hayes’ celebrity and has bangs so perfect they look genetically modified. And, most importantly, she’s Anne Hathaway. In the power dynamics of \u003cem>The Idea of You\u003c/em>, Hayes may be a fictional pop star but Hathaway is a very real movie star. And you don’t forget it for a moment in Michael Showalter’s lightly appealing showcase of the actor at her resplendent best.\u003c/p>\n\u003cp>\u003cem>The Idea of You\u003c/em>, which debuts Thursday on Prime Video, is full of all the kinds of contradictions that can make a rom-com work. The highly glamorous, megawatt-smiling Hathaway is playing a down-to-earth nobody. The showbiz veteran in the movie is played by Galitzine, a less well-known but up-and-coming British actor whose performance in the movie is quite authentic. And even though the whole scenario is undeniably a glossy high-concept Hollywood fairy tale, Showalter gives it enough texture that \u003cem>The Idea of You\u003c/em> comes off more natural and sincere than you’d expect.\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/V8i6PB0gGOA'\n title='//www.youtube.com/embed/V8i6PB0gGOA'\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>Once the steamy hotel-room encounters come in \u003cem>The Idea of You\u003c/em>, the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband (Reid Scott) cheated on her. This is a fairy tale she deserves.\u003c/p>\n\u003cp>While Showalter (\u003cem>The Big Sick\u003c/em>) has long showed a great gift for juggling comedy and drama at once, \u003cem>The Idea of You\u003c/em> leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.\u003c/p>\n\u003cp>The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.\u003c/p>\n\u003cp>There are surely more interesting and funnier places \u003cem>The Idea of You\u003c/em> could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the most convincing thing about\u003cem> The Idea of You\u003c/em>? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.\u003c/p>\n\u003cp>That connection will probably only further the sense that \u003cem>The Idea of You\u003c/em> is very nearly \u003cem>The Idea of Harry Styles\u003c/em>. The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of \u003cem>Turning Red\u003c/em> (whose songs were penned by Billie Eilish and Finneas O’Connell), we are living in the golden age of the fictional boy band.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Idea of You’ begins streaming on Prime Video on May 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tiktok-man-or-bear-question-bible-answer-viral-videos",
"title": "TikTok’s ‘Man or Bear?’ Question Gets Settled Once and for All — by God",
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"content": "\u003cp>The trend has been ramping up on TikTok for over a month: women casually ask the men in their lives if they’d rather leave their daughters in the woods with a man or a bear, then film the results.\u003c/p>\n\u003cp>The “\u003ca href=\"https://www.tiktok.com/t/ZPRwPTkc1/\">Man or Bear?\u003c/a>” question is brilliant in its simplicity — we know nothing about the bear or the man. Watching men’s reactions to the question has, in the last few weeks, become something of a litmus test.\u003c/p>\n\u003cp>Many men struggle with the options presented, then have a major lightbulb moment:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@thewildwitchjean/video/7361277011970624811\" data-video-id=\"7361277011970624811\">\n\u003csection>\u003ca title=\"@thewildwitchjean\" href=\"https://www.tiktok.com/@thewildwitchjean?refer=embed\" target=\"_blank\" rel=\"noopener\">@thewildwitchjean\u003c/a> \u003ca title=\"duet\" href=\"https://www.tiktok.com/tag/duet?refer=embed\" target=\"_blank\" rel=\"noopener\">#duet\u003c/a> with @Kators \u003ca title=\"bearorman\" href=\"https://www.tiktok.com/tag/bearorman?refer=embed\" target=\"_blank\" rel=\"noopener\">#bearorman\u003c/a> \u003ca title=\"doyougetitnow?\" href=\"https://www.tiktok.com/tag/doyougetitnow%3F?refer=embed\" target=\"_blank\" rel=\"noopener\">#doyougetitnow?\u003c/a> \u003ca title=\"♬ original sound - Kators\" href=\"https://www.tiktok.com/music/original-sound-7360885161216871211?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Kators\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Some come to the sudden realization that they distrust men just as much as women do:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@skylar_miftari/video/7361995698327309611\" data-video-id=\"7361995698327309611\">\n\u003csection>\u003ca title=\"@skylar_miftari\" href=\"https://www.tiktok.com/@skylar_miftari?refer=embed\" target=\"_blank\" rel=\"noopener\">@skylar_miftari\u003c/a> Hes clearly ready to be a girl dad😂😂😂 “shes gonna be the sweetest soul” 🥲 \u003ca title=\"manorbear\" href=\"https://www.tiktok.com/tag/manorbear?refer=embed\" target=\"_blank\" rel=\"noopener\">#manorbear\u003c/a> \u003ca title=\"girldad\" href=\"https://www.tiktok.com/tag/girldad?refer=embed\" target=\"_blank\" rel=\"noopener\">#girldad\u003c/a> \u003ca title=\"♬ original sound - Sky\" href=\"https://www.tiktok.com/music/original-sound-7361995790707067690?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Sky\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And some have needed to have the point of this entire trend — and \u003ca href=\"https://www.tiktok.com/@dontceceme/video/7362991831711255851?_r=1&_t=8lyNITxtf8o\">the reasons most women opt for the bear\u003c/a> — explained to them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the discussion has expanded over the last week or so, however, folks have started to give quantifiable answers as to why the bear is always the better option.\u003c/p>\n\u003cp>Here’s one ecology major spitting some bear stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@bbqtiddies/video/7358921328671362346\" data-video-id=\"7358921328671362346\">\n\u003csection>\u003ca title=\"@bbqtiddies\" href=\"https://www.tiktok.com/@bbqtiddies?refer=embed\" target=\"_blank\" rel=\"noopener\">@bbqtiddies\u003c/a> \u003ca title=\"stitch\" href=\"https://www.tiktok.com/tag/stitch?refer=embed\" target=\"_blank\" rel=\"noopener\">#stitch\u003c/a> with @Jonathan Buchanan BEARS > MEN \u003ca title=\"ecology\" href=\"https://www.tiktok.com/tag/ecology?refer=embed\" target=\"_blank\" rel=\"noopener\">#ecology\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"wildlife\" href=\"https://www.tiktok.com/tag/wildlife?refer=embed\" target=\"_blank\" rel=\"noopener\">#wildlife\u003c/a> \u003ca title=\"bear\" href=\"https://www.tiktok.com/tag/bear?refer=embed\" target=\"_blank\" rel=\"noopener\">#bear\u003c/a> \u003ca title=\"♬ original sound - jj\" href=\"https://www.tiktok.com/music/original-sound-7358921456442723118?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – jj\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Here’s one helpful man offering some man stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@dadchats/video/7364106067070111019\" data-video-id=\"7364106067070111019\">\n\u003csection>\u003ca title=\"@dadchats\" href=\"https://www.tiktok.com/@dadchats?refer=embed\" target=\"_blank\" rel=\"noopener\">@dadchats\u003c/a>This is America 🐻 👨\u003ca title=\"♬ original sound - dadchats\" href=\"https://www.tiktok.com/music/original-sound-7364106106110626602?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – dadchats\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>But the absolute winner, hands down — the reason we can all stop asking each other the “Man or Bear?” question now — is one young woman named Alana, who turned all the way up to God for answers. Turns out it’s true. The angriest bear on Earth is still better than a reckless man. We know because the Bible tells us so.\u003c/p>\n\u003cp>Alana’s original video was taken down, so please enjoy this fact-checking follow-up video by Treasure McClain. Excellent work, ladies.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@treasuremcclain1/video/7363705393408658734\" data-video-id=\"7363705393408658734\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@treasuremcclain1\" href=\"https://www.tiktok.com/@treasuremcclain1?refer=embed\">@treasuremcclain1\u003c/a> \u003ca title=\"stitch\" target=\"_blank\" href=\"https://www.tiktok.com/tag/stitch?refer=embed\">#stitch\u003c/a> with @alana.snorts_driveways Proverbs 17:12 \u003ca title=\"bible\" target=\"_blank\" href=\"https://www.tiktok.com/tag/bible?refer=embed\">#bible\u003c/a> \u003ca title=\"manvsbear\" target=\"_blank\" href=\"https://www.tiktok.com/tag/manvsbear?refer=embed\">#manvsbear\u003c/a> \u003ca title=\"christiantiktok\" target=\"_blank\" href=\"https://www.tiktok.com/tag/christiantiktok?refer=embed\">#christiantiktok\u003c/a> \u003ca title=\"choosethebear\" target=\"_blank\" href=\"https://www.tiktok.com/tag/choosethebear?refer=embed\">#choosethebear\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Treasure McClain\" href=\"https://www.tiktok.com/music/original-sound-7363705453954009902?refer=embed\">♬ original sound – Treasure McClain\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> [tiktok]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The trend has been ramping up on TikTok for over a month: women casually ask the men in their lives if they’d rather leave their daughters in the woods with a man or a bear, then film the results.\u003c/p>\n\u003cp>The “\u003ca href=\"https://www.tiktok.com/t/ZPRwPTkc1/\">Man or Bear?\u003c/a>” question is brilliant in its simplicity — we know nothing about the bear or the man. Watching men’s reactions to the question has, in the last few weeks, become something of a litmus test.\u003c/p>\n\u003cp>Many men struggle with the options presented, then have a major lightbulb moment:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@thewildwitchjean/video/7361277011970624811\" data-video-id=\"7361277011970624811\">\n\u003csection>\u003ca title=\"@thewildwitchjean\" href=\"https://www.tiktok.com/@thewildwitchjean?refer=embed\" target=\"_blank\" rel=\"noopener\">@thewildwitchjean\u003c/a> \u003ca title=\"duet\" href=\"https://www.tiktok.com/tag/duet?refer=embed\" target=\"_blank\" rel=\"noopener\">#duet\u003c/a> with @Kators \u003ca title=\"bearorman\" href=\"https://www.tiktok.com/tag/bearorman?refer=embed\" target=\"_blank\" rel=\"noopener\">#bearorman\u003c/a> \u003ca title=\"doyougetitnow?\" href=\"https://www.tiktok.com/tag/doyougetitnow%3F?refer=embed\" target=\"_blank\" rel=\"noopener\">#doyougetitnow?\u003c/a> \u003ca title=\"♬ original sound - Kators\" href=\"https://www.tiktok.com/music/original-sound-7360885161216871211?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Kators\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some come to the sudden realization that they distrust men just as much as women do:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@skylar_miftari/video/7361995698327309611\" data-video-id=\"7361995698327309611\">\n\u003csection>\u003ca title=\"@skylar_miftari\" href=\"https://www.tiktok.com/@skylar_miftari?refer=embed\" target=\"_blank\" rel=\"noopener\">@skylar_miftari\u003c/a> Hes clearly ready to be a girl dad😂😂😂 “shes gonna be the sweetest soul” 🥲 \u003ca title=\"manorbear\" href=\"https://www.tiktok.com/tag/manorbear?refer=embed\" target=\"_blank\" rel=\"noopener\">#manorbear\u003c/a> \u003ca title=\"girldad\" href=\"https://www.tiktok.com/tag/girldad?refer=embed\" target=\"_blank\" rel=\"noopener\">#girldad\u003c/a> \u003ca title=\"♬ original sound - Sky\" href=\"https://www.tiktok.com/music/original-sound-7361995790707067690?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Sky\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And some have needed to have the point of this entire trend — and \u003ca href=\"https://www.tiktok.com/@dontceceme/video/7362991831711255851?_r=1&_t=8lyNITxtf8o\">the reasons most women opt for the bear\u003c/a> — explained to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the discussion has expanded over the last week or so, however, folks have started to give quantifiable answers as to why the bear is always the better option.\u003c/p>\n\u003cp>Here’s one ecology major spitting some bear stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@bbqtiddies/video/7358921328671362346\" data-video-id=\"7358921328671362346\">\n\u003csection>\u003ca title=\"@bbqtiddies\" href=\"https://www.tiktok.com/@bbqtiddies?refer=embed\" target=\"_blank\" rel=\"noopener\">@bbqtiddies\u003c/a> \u003ca title=\"stitch\" href=\"https://www.tiktok.com/tag/stitch?refer=embed\" target=\"_blank\" rel=\"noopener\">#stitch\u003c/a> with @Jonathan Buchanan BEARS > MEN \u003ca title=\"ecology\" href=\"https://www.tiktok.com/tag/ecology?refer=embed\" target=\"_blank\" rel=\"noopener\">#ecology\u003c/a> \u003ca title=\"biology\" href=\"https://www.tiktok.com/tag/biology?refer=embed\" target=\"_blank\" rel=\"noopener\">#biology\u003c/a> \u003ca title=\"wildlife\" href=\"https://www.tiktok.com/tag/wildlife?refer=embed\" target=\"_blank\" rel=\"noopener\">#wildlife\u003c/a> \u003ca title=\"bear\" href=\"https://www.tiktok.com/tag/bear?refer=embed\" target=\"_blank\" rel=\"noopener\">#bear\u003c/a> \u003ca title=\"♬ original sound - jj\" href=\"https://www.tiktok.com/music/original-sound-7358921456442723118?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – jj\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s one helpful man offering some man stats:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@dadchats/video/7364106067070111019\" data-video-id=\"7364106067070111019\">\n\u003csection>\u003ca title=\"@dadchats\" href=\"https://www.tiktok.com/@dadchats?refer=embed\" target=\"_blank\" rel=\"noopener\">@dadchats\u003c/a>This is America 🐻 👨\u003ca title=\"♬ original sound - dadchats\" href=\"https://www.tiktok.com/music/original-sound-7364106106110626602?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – dadchats\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the absolute winner, hands down — the reason we can all stop asking each other the “Man or Bear?” question now — is one young woman named Alana, who turned all the way up to God for answers. Turns out it’s true. The angriest bear on Earth is still better than a reckless man. We know because the Bible tells us so.\u003c/p>\n\u003cp>Alana’s original video was taken down, so please enjoy this fact-checking follow-up video by Treasure McClain. Excellent work, ladies.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@treasuremcclain1/video/7363705393408658734\" data-video-id=\"7363705393408658734\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@treasuremcclain1\" href=\"https://www.tiktok.com/@treasuremcclain1?refer=embed\">@treasuremcclain1\u003c/a> \u003ca title=\"stitch\" target=\"_blank\" href=\"https://www.tiktok.com/tag/stitch?refer=embed\">#stitch\u003c/a> with @alana.snorts_driveways Proverbs 17:12 \u003ca title=\"bible\" target=\"_blank\" href=\"https://www.tiktok.com/tag/bible?refer=embed\">#bible\u003c/a> \u003ca title=\"manvsbear\" target=\"_blank\" href=\"https://www.tiktok.com/tag/manvsbear?refer=embed\">#manvsbear\u003c/a> \u003ca title=\"christiantiktok\" target=\"_blank\" href=\"https://www.tiktok.com/tag/christiantiktok?refer=embed\">#christiantiktok\u003c/a> \u003ca title=\"choosethebear\" target=\"_blank\" href=\"https://www.tiktok.com/tag/choosethebear?refer=embed\">#choosethebear\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Treasure McClain\" href=\"https://www.tiktok.com/music/original-sound-7363705453954009902?refer=embed\">♬ original sound – Treasure McClain\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\u003c/div>",
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"title": "Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it",
"headTitle": "Kendrick Lamar Is Drake’s Biggest Hater — ‘Euphoria’ Proves He’s Proud of it | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NPqDIwWMtxg\u003c/p>\n\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>[aside postid='arts_13955802']It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13912853']The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\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/NPqDIwWMtxg'\n title='//www.youtube.com/embed/NPqDIwWMtxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’",
"headTitle": "Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’ | KQED",
"content": "\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>[aside postid='arts_13956676']As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GGMmFC_GpXc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>[aside postid='arts_13955549']These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\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/GGMmFC_GpXc'\n title='//www.youtube.com/embed/GGMmFC_GpXc'\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 terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the worst movie sins is when a comedy fails to at least match the natural charisma of its stars. Not all actors are capable of being effortlessly witty without a tightly crafted script and some excellent direction and editing. But Ryan Gosling and Emily Blunt seem, at least from afar, adept at that game. Just look at their charming press tour for \u003cem>The Fall Guy\u003c/em>. Theirs is the kind of fun banter that can be a little worrisome — what if their riffing is better than the movie?\u003c/p>\n\u003cp>[aside postid='arts_13955729']It comes as a great relief, then, that \u003cem>The Fall Guy\u003c/em> lives up to its promise. Here is a delightful blend of action, comedy and romance that will make the audience feel like a Hollywood insider for a few hours (although there are perhaps one too many jokes about Comic-Con and Hall H).\u003c/p>\n\u003cp>Loosely based on the 1980s Lee Majors television series about a stuntman who made some extra cash on the side bounty hunting, Gosling takes up the mantle of said stunt guy, Colt Seavers.\u003c/p>\n\u003cp>Colt is a workaday stunt performer and longtime go-to for a major movie star, Tom Ryder (Aaron Taylor-Johnson). Tom is the kind of deeply egotistical and self-conscious A-lister who tells everyone he does his own stunts and worries out loud about Colt’s jawline being distractingly softer than his. I think the word “potato” is thrown around as a descriptor. Taylor-Johnson has quite a bit of fun playing up all his eccentricities that you hope, and fear, are at least somewhat inspired by real horror stories of stars behaving badly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j7jPnwVGdZ8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film comes from director David Leitch, the Brad Pitt stuntman and stunt coordinator who helped bring \u003cem>John Wick\u003c/em> to the world and directed \u003cem>Atomic Blonde\u003c/em> and \u003cem>Bullet Train\u003c/em>. He’s a guy who not only has the vision and know-how to bring the best in stunts to films and make them pop, but also has a vested interest in putting them in the spotlight. Forget the Oscar, how about just any acknowledgement? Perhaps \u003cem>The Fall Guy\u003c/em> is just one tiny step on the path to making audiences more aware of some of the behind-the-scenes people who really make movies better and risk it all to do so.\u003c/p>\n\u003cp>It’s revealing that the movie starts with Colt suffering a terrible injury on a set. The stunt that goes wrong is one he’s just done and doesn’t seem remotely nervous about. The film cuts to his recovery and semi-reclusive retirement until he gets a call from Tom’s producer Gail (a delightfully over-the-top Hannah Waddingham) begging Colt to come back for a new film. They need him, she pleads, as does his longtime crush Jody (Blunt), who is making her directorial debut. She waits to inform him that Tom is missing and he’s the one who has to find him.\u003c/p>\n\u003cp>On the quest, Colt encounters tough-guy goons, enablers, a sword-wielding actress, and a dead body on ice that all lead up to something big and rotten. And like a selfless stunt guy, he does it all out of sight of Jody — trying his best to save her movie without giving her something extra to worry about. Nothing about it is particularly plausible, but it’s not hard to get on board for the ride, and much of that is because of Gosling.\u003c/p>\n\u003cp>[aside postid='arts_13956512']While he’s not quite underappreciated for his comedic timing, especially after \u003cem>Barbie\u003c/em>, it’s fun to get to see him really embrace and lean into the goofiness — whether it’s crying and singing along to Taylor Swift’s “All Too Well” or quoting movie lines to his stunt coordinator pal (Winston Duke, always a good addition) in the midst of an actual fight.\u003c/p>\n\u003cp>There is something very juvenile and sweet about Jody and Colt’s will-they-won’t-they romance, with its mix of attraction, banter, misunderstandings and hurt feelings. It was a genius stroke to cast these two opposite each other and it leaves you wanting more scenes with the two.\u003c/p>\n\u003cp>Working with a script from Drew Pearce (\u003cem>Hobbs & Shaw\u003c/em>), Leitch packs the film with wall-to-wall action, in both the film’s movie sets and its real world. And with the self-referential humor, the industry jokes and the promise of a little romance, it feels like one of those movies we all complain they don’t make anymore.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Fall Guy’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film comes from director David Leitch, the Brad Pitt stuntman and stunt coordinator who helped bring \u003cem>John Wick\u003c/em> to the world and directed \u003cem>Atomic Blonde\u003c/em> and \u003cem>Bullet Train\u003c/em>. He’s a guy who not only has the vision and know-how to bring the best in stunts to films and make them pop, but also has a vested interest in putting them in the spotlight. Forget the Oscar, how about just any acknowledgement? Perhaps \u003cem>The Fall Guy\u003c/em> is just one tiny step on the path to making audiences more aware of some of the behind-the-scenes people who really make movies better and risk it all to do so.\u003c/p>\n\u003cp>It’s revealing that the movie starts with Colt suffering a terrible injury on a set. The stunt that goes wrong is one he’s just done and doesn’t seem remotely nervous about. The film cuts to his recovery and semi-reclusive retirement until he gets a call from Tom’s producer Gail (a delightfully over-the-top Hannah Waddingham) begging Colt to come back for a new film. They need him, she pleads, as does his longtime crush Jody (Blunt), who is making her directorial debut. She waits to inform him that Tom is missing and he’s the one who has to find him.\u003c/p>\n\u003cp>On the quest, Colt encounters tough-guy goons, enablers, a sword-wielding actress, and a dead body on ice that all lead up to something big and rotten. And like a selfless stunt guy, he does it all out of sight of Jody — trying his best to save her movie without giving her something extra to worry about. Nothing about it is particularly plausible, but it’s not hard to get on board for the ride, and much of that is because of Gosling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While he’s not quite underappreciated for his comedic timing, especially after \u003cem>Barbie\u003c/em>, it’s fun to get to see him really embrace and lean into the goofiness — whether it’s crying and singing along to Taylor Swift’s “All Too Well” or quoting movie lines to his stunt coordinator pal (Winston Duke, always a good addition) in the midst of an actual fight.\u003c/p>\n\u003cp>There is something very juvenile and sweet about Jody and Colt’s will-they-won’t-they romance, with its mix of attraction, banter, misunderstandings and hurt feelings. It was a genius stroke to cast these two opposite each other and it leaves you wanting more scenes with the two.\u003c/p>\n\u003cp>Working with a script from Drew Pearce (\u003cem>Hobbs & Shaw\u003c/em>), Leitch packs the film with wall-to-wall action, in both the film’s movie sets and its real world. And with the self-referential humor, the industry jokes and the promise of a little romance, it feels like one of those movies we all complain they don’t make anymore.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Fall Guy’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Naked and frail, a shaggy-haired man films himself as he endures solitude in a tiny room for months, and months more.\u003c/p>\n\u003cp>\u003cem>The Contestant\u003c/em>, directed by Clair Titley, explores the story behind the late 1990s hit reality TV show from Japan, \u003cem>A Life in Prizes\u003c/em>, in which a comedian nicknamed Nasubi is forced to survive on whatever he can redeem from mail-in coupons, as he is denied contact with the outside world.\u003c/p>\n\u003cp>[aside postid='arts_13955948']The film premiered at the Toronto International Film Festival in 2023 and will stream on Hulu from May 2.\u003c/p>\n\u003cp>Tomoaki Hamatsu — whose nickname “Nasubi,” meaning eggplant in Japanese, refers jokingly to his long chin — never manages to clothe himself and remains naked throughout the show. But he dances to celebrate the things he does obtain, especially food, even if it’s just a pot of kimchi.\u003c/p>\n\u003cp>Canada’s \u003cem>National Post\u003c/em>, in a review of Titley’s documentary, described the TV show as “\u003cem>The Truman Show\u003c/em> meets \u003cem>OldBoy\u003c/em>,” referring to the 1998 American film starring Jim Carrey about a man who unwittingly stars in a reality TV show about his own life and the 2003 Cannes-winning Korean film about an imprisoned man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The British director Titley said she chanced upon the reality show and reached out to Nasubi because she felt no one had ever told his side of the story.\u003c/p>\n\u003cp>“I felt that they were kind of dismissive and even derogatory to an extent about, you know, look at those crazy Japanese. And I really wanted to know Nasubi’s story. I really wanted to know what had happened to him, why he’d stayed in there,” she said in a recent Zoom interview with The Associated Press.\u003c/p>\n\u003cp>[aside postid='arts_13951078']What makes her documentary more than a just-for-laughs, big-in-Japan satire are the interviews Titley conducts with Hamatsu’s mother, sister and friend, who express outrage, sorrow, pride and a mix of other emotions as the show grew into a prime-time hit. They said they felt sorry for what he endured, including his nudity.\u003c/p>\n\u003cp>The film also explores Hamatsu’s childhood experience of being bullied because of his long chin and how he turned to laughter to protect himself.\u003c/p>\n\u003cp>Hamatsu says the hardest part of the show was the solitude, although being without clothing — and very little food — for a year and three months also took a toll on him. The comedian was moved to tears when he received a standing ovation at a New York screening of the documentary.\u003c/p>\n\u003cp>“I feel I was able to relay a positive message through the documentary,” he said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wSJWxOn2pi0\u003c/p>\n\u003cp>\u003cem>The Contestant\u003c/em> raises serious questions about how far society might go for entertainment, and the big audiences and money it represents.\u003c/p>\n\u003cp>The show’s producer said in the documentary he just wanted to “capture the moment” and did not mention any reservations about producing the show.\u003c/p>\n\u003cp>“I think to an extent we are all complicit in these narratives. I think that’s something to be aware of. It’s very easy to stand back and look at all of this, and sort of think, ‘Oh, look at what those producers did.’ But, you know, as viewers we need to take some responsibility,” Titley said.\u003c/p>\n\u003cp>The film explores the various emotions of being trapped in different ways, including in relationships, hardships or just feelings of meaninglessness.\u003c/p>\n\u003cp>[aside postid='arts_13954702']Hamatsu is from Fukushima in northeastern Japan, which was hit by the March 2011 triple disaster, when a giant tsunami followed a 9.0 magnitude quake and devastated the coastline, setting off the world’s worst nuclear disaster since Chernobyl.\u003c/p>\n\u003cp>Hamatsu, who still works as an actor, also devotes his time to the reconstruction of Fukushima and raising awareness about the region.\u003c/p>\n\u003cp>“I want everyone to know the people of Fukushima are working hard,” he said.\u003c/p>\n\u003cp>“Life is gradually returning to what used to be in the exclusion zones. Of course, I realize the road to decommissioning the nuclear plants is still a long battle. But I would like people to know the Fukushima of today, feel hope by visiting Fukushima and watch Fukushima rebuild.”\u003c/p>\n\u003cp>In a vindication of sorts at the end of the documentary, Hamatsu becomes a climber and conquers Mount Everest, a feat he dedicates to Fukushima.\u003c/p>\n\u003cp>Many people think the famous show 25 years ago was the high point of Hamatsu’s life, since he is not on TV much anymore, he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But it’s just the opposite. That was the worst point in my life. I overcame that. And now I am free to do what I want.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The British director Titley said she chanced upon the reality show and reached out to Nasubi because she felt no one had ever told his side of the story.\u003c/p>\n\u003cp>“I felt that they were kind of dismissive and even derogatory to an extent about, you know, look at those crazy Japanese. And I really wanted to know Nasubi’s story. I really wanted to know what had happened to him, why he’d stayed in there,” she said in a recent Zoom interview with The Associated Press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What makes her documentary more than a just-for-laughs, big-in-Japan satire are the interviews Titley conducts with Hamatsu’s mother, sister and friend, who express outrage, sorrow, pride and a mix of other emotions as the show grew into a prime-time hit. They said they felt sorry for what he endured, including his nudity.\u003c/p>\n\u003cp>The film also explores Hamatsu’s childhood experience of being bullied because of his long chin and how he turned to laughter to protect himself.\u003c/p>\n\u003cp>Hamatsu says the hardest part of the show was the solitude, although being without clothing — and very little food — for a year and three months also took a toll on him. The comedian was moved to tears when he received a standing ovation at a New York screening of the documentary.\u003c/p>\n\u003cp>“I feel I was able to relay a positive message through the documentary,” he said.\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/wSJWxOn2pi0'\n title='//www.youtube.com/embed/wSJWxOn2pi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Contestant\u003c/em> raises serious questions about how far society might go for entertainment, and the big audiences and money it represents.\u003c/p>\n\u003cp>The show’s producer said in the documentary he just wanted to “capture the moment” and did not mention any reservations about producing the show.\u003c/p>\n\u003cp>“I think to an extent we are all complicit in these narratives. I think that’s something to be aware of. It’s very easy to stand back and look at all of this, and sort of think, ‘Oh, look at what those producers did.’ But, you know, as viewers we need to take some responsibility,” Titley said.\u003c/p>\n\u003cp>The film explores the various emotions of being trapped in different ways, including in relationships, hardships or just feelings of meaninglessness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hamatsu is from Fukushima in northeastern Japan, which was hit by the March 2011 triple disaster, when a giant tsunami followed a 9.0 magnitude quake and devastated the coastline, setting off the world’s worst nuclear disaster since Chernobyl.\u003c/p>\n\u003cp>Hamatsu, who still works as an actor, also devotes his time to the reconstruction of Fukushima and raising awareness about the region.\u003c/p>\n\u003cp>“I want everyone to know the people of Fukushima are working hard,” he said.\u003c/p>\n\u003cp>“Life is gradually returning to what used to be in the exclusion zones. Of course, I realize the road to decommissioning the nuclear plants is still a long battle. But I would like people to know the Fukushima of today, feel hope by visiting Fukushima and watch Fukushima rebuild.”\u003c/p>\n\u003cp>In a vindication of sorts at the end of the documentary, Hamatsu becomes a climber and conquers Mount Everest, a feat he dedicates to Fukushima.\u003c/p>\n\u003cp>Many people think the famous show 25 years ago was the high point of Hamatsu’s life, since he is not on TV much anymore, he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But it’s just the opposite. That was the worst point in my life. I overcame that. And now I am free to do what I want.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In writer-director-star Joanna Arnow’s \u003cem>The Feeling That the Time for Doing Something Has Passed\u003c/em>, Ann (Arnow), a 30-something New Yorker, lies naked in bed with an older man, Allen (Scott Cohen), with whom she has a yearslong BDSM relationship. She tells him she’s grateful he only cares about his own pleasure.\u003c/p>\n\u003cp>“It’s like I don’t even exist,” she says.\u003c/p>\n\u003cp>[aside postid='arts_13956480']Much is just out of reach in Arnow’s shrewdly perceptive and very funny new film. Love, certainly, is nowhere near Ann’s life despite a series of romantic encounters. Music is talked about — from Andrew Lloyd Webber showtunes to the team cheer from \u003cem>A League of Their Own\u003c/em> — but seldom heard. In one scene during a tryst with a composer, Ann says her favorite soundtrack is \u003cem>In the Act of Wishing for Love\u003c/em>, but she means \u003cem>In the Mood for Love\u003c/em>.\u003c/p>\n\u003cp>Even Ann’s existential crisis doesn’t quite materialize in this unwaveringly sardonic portrait of millennial malaise. Her life plays out in a series of brief, crispy edited vignettes that jump between her drab work life and her extreme but equally drab sex life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KVacS6T7jxs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Obedience is pushed on her in both places, as are labels, most of which Ann quietly but not necessarily apathetically accepts. One partner (Parish Bradley) who instructs her to communicate in “a series of oinks” writes the lewd name he’s given her across her belly in marker. At work, an unseen HR gives her a new job title: “Clinical Media E-learning Specialist.” Which is worse is hard to say. After three years on the job, she’s given a one-year anniversary trophy.\u003c/p>\n\u003cp>How Ann feels about all of this isn’t always obvious, possibly even to her. Arnow portrays her much as she directs and edits the film, with a detached deadpan. Sometimes Ann pushes back. She tells her older lover that she’s not an internet window he can open and close. But there’s also something in Ann that recoils against more sentimental encounters. Later in the film, she begins dating someone sweetly if naively romantic (Babak Tafti) who’s unfamiliar with the kind of bondage role-playing Ann is accustomed to. But his sweetness is more of a strike against him. Ann may be a victim of her modern, alienating environment, but she’s also a product of it.\u003c/p>\n\u003cp>[aside postid='arts_13956512']Arnow, who also made the 2013 film \u003cem>I hate myself 🙂\u003c/em> has often been compared to Lena Dunham as a generation-representing voice, for her willingness to bear all on screen and for her proclivity for autobiography. (Ann’s parents in the film are played by Arnow’s real-life mother and father, Barbara Weiserbs and David Arnow.)\u003c/p>\n\u003cp>But Arnow’s sensibility is much dryer and more satirical. Whether Ann can free herself of her circumstance is one thing, but Arnow, as a keenly insightful filmmaker, proves again and again that she has. How else can you explain the trenchant absurdity of the poem-worthy dialogue that runs through the film? A sexual partner whose first line is: “Thank you for forgiving me for mansplaining about L.A.” A boss who announces: “If you’re not on Spotify, you’re behind the times.” And Ann, who after debasing herself with her older lover, says, “The candles were nice,” only for him to reply: “There was just one candle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Feeling That the Time for Doing Something Has Passed’ opens nationwide on April 26, 2024. The film \u003ca href=\"https://roxie.com/film/the-feeling-that-the-time-for-doing-something-has-passed/\">begins playing at the Roxie Theater\u003c/a> on May 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arnow, who also made the 2013 film \u003cem>I hate myself 🙂\u003c/em> has often been compared to Lena Dunham as a generation-representing voice, for her willingness to bear all on screen and for her proclivity for autobiography. (Ann’s parents in the film are played by Arnow’s real-life mother and father, Barbara Weiserbs and David Arnow.)\u003c/p>\n\u003cp>But Arnow’s sensibility is much dryer and more satirical. Whether Ann can free herself of her circumstance is one thing, but Arnow, as a keenly insightful filmmaker, proves again and again that she has. How else can you explain the trenchant absurdity of the poem-worthy dialogue that runs through the film? A sexual partner whose first line is: “Thank you for forgiving me for mansplaining about L.A.” A boss who announces: “If you’re not on Spotify, you’re behind the times.” And Ann, who after debasing herself with her older lover, says, “The candles were nice,” only for him to reply: “There was just one candle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Feeling That the Time for Doing Something Has Passed’ opens nationwide on April 26, 2024. The film \u003ca href=\"https://roxie.com/film/the-feeling-that-the-time-for-doing-something-has-passed/\">begins playing at the Roxie Theater\u003c/a> on May 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness",
"headTitle": "Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness | KQED",
"content": "\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>[aside postid='arts_13955549']He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eafm1gB6SCM\u003c/p>\n\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>[aside postid='arts_13954225']But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>[aside postid='arts_13954702']This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>[aside postid='arts_13953601']But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>[aside postid='arts_13953497']When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\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/eafm1gB6SCM'\n title='//www.youtube.com/embed/eafm1gB6SCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Like many little girls, a young Kristi Yamaguchi loved playing with Barbie. With a schedule packed with ice skating practices, her Barbie dolls became her “best friends.”\u003c/p>\n\u003cp>So, it’s surreal for the decorated Olympian figure skater to now be a Barbie girl herself.\u003c/p>\n\u003cfigure id=\"attachment_13956584\" class=\"wp-caption aligncenter\" style=\"max-width: 794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM.png\" alt=\"A doll of an ice skater stands, one leg stretched out and arms raised on the ice. The doll is wearing a black lace and chiffon costume. \" width=\"794\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM.png 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM-160x193.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM-768x929.png 768w\" sizes=\"(max-width: 794px) 100vw, 794px\">\u003cfigcaption class=\"wp-caption-text\">This image provided by Mattel in April 2024 shows the company’s Kristi Yamaguchi Barbie doll. \u003ccite>(Mattel via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a huge, huge honor. I think a lot of pride comes along with it, not just recognizing the Olympic achievement, but also being recognized during AAPI Month and following in the footsteps of some incredible women that I idolize — Anna May Wong, Maya Angelou and Rosa Parks,” Yamaguchi told The Associated Press. “It’s hard to see me put in the category with them.”\u003c/p>\n\u003cp>[aside postid='arts_13933011']Yamaguchi, who became the first Asian American to win an individual figure skating gold medal, at the 1992 Winter Olympics, has been immortalized as a doll for Barbie’s “Inspiring Women Series,” Mattel announced Wednesday. The release is timed for Asian American and Pacific Islander Heritage Month, in May.\u003c/p>\n\u003cp>This isn’t Yamaguchi’s first doll depiction. In the ‘90s, touring show Stars on Ice put out a line of dolls modeled after notable skaters. The Barbie version is a lot more detailed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mattel duplicated everything the then 20-year-old medalist wore at the Olympics in Albertville, France: the sparkling black-and-gold brocade outfit designed by Lauren Sheehan, the gold hair ribbon and even a red-and-white bouquet like Yamaguchi held atop the podium.\u003c/p>\n\u003cp>Yamaguchi said both she and Sheehan are “just so tickled pink.”\u003c/p>\n\u003cp>She also is happy with the doll’s visage.\u003c/p>\n\u003cp>[aside postid='arts_13926336']“It looks like me for sure. You know, the eyes and just the shape of the face. And then, of course, the hair, for sure. I mean, it has the bangs that are the ’90s,” Yamaguchi said, chuckling.\u003c/p>\n\u003cp>She appreciates that the doll’s release comes on the high heels of the blockbuster \u003cem>Barbie\u003c/em> movie last year. Her daughters, ages 18 and 20, are fans of the Oscar-nominated film. Their initial reaction to their mother being a Barbie? Disbelief.\u003c/p>\n\u003cp>“When they found out I was getting a doll, they were kind of flabbergasted and being like, ‘What? Like Mom, like how do you qualify? But that’s way too cool for you,’” Yamaguchi said.\u003c/p>\n\u003cp>When Yamaguchi became a household name in the ’90s, most Asian American children were growing up feeling like toys-aren’t-us kids. If you were an Asian parent looking for an Asian doll in the U.S., you likely turned to independent mail-order companies or waited until you were visiting your country of heritage.\u003c/p>\n\u003cfigure id=\"attachment_13956586\" class=\"wp-caption aligncenter\" style=\"max-width: 1066px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM.png\" alt=\"Close up of a smiling doll's face with impeccably styled hair, wearing earrings.\" width=\"1066\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM.png 1066w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-800x794.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-1020x1012.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-768x762.png 768w\" sizes=\"(max-width: 1066px) 100vw, 1066px\">\u003cfigcaption class=\"wp-caption-text\">This image provided by Mattel in April 2024 shows the company’s Kristi Yamaguchi Barbie doll. \u003ccite>(Mattel via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since then, the toy market has evolved somewhat with big companies like Mattel diversifying and independent entrepreneurs filling the void. Two Asian doll lines — Jilly Bing and Joeydolls — launched within the last year, one by an Asian American mother and the other by an Asian Canadian mother. Both could not find dolls that looked like their daughters.\u003c/p>\n\u003cp>Sapna Cheryan, a professor of psychology at the University of Washington who served a year on Mattel’s Barbie Global Advisory Council in 2018, said Asian Americans have long dealt with two stereotypes: the model-minority whiz kid or the perpetual foreigner. Toys can help dispel those myths, and instead signal acceptance and inclusivity.\u003c/p>\n\u003cp>Dolls modeled after real people can get people talking about their human counterparts. Cheryan applauded Barbie’s choice of Yamaguchi.\u003c/p>\n\u003cp>“There are so many Asian American athletes but they’re just not propped up in a way that athletes of other racial groups are,” said Cheryan, who researches cultural stereotypes and their impact on race and gender disparities. “Having a match in terms of racial identification or gender or both,” she said, is important in creating effective role models for kids.\u003c/p>\n\u003cp>[aside postid='arts_13955020']Mattel has mostly garnered praise for its diversity efforts but it’s had some missteps along the way. In 2021, the toy maker said it “fell short” by failing to include an Asian doll in a line of Tokyo Olympics-themed Barbies. In January, there was some backlash to Asian “You Can Be Anything” Barbies that seemed stereotypical. One was a violinist and the other a doctor in panda scrubs.\u003c/p>\n\u003cp>Tying Yamaguchi to Barbie, a symbol of American pop culture, is especially remarkable considering what she and her family have dealt with as Japanese Americans. The Fremont-raised skater has spoken about how her maternal and paternal grandparents were forced into U.S. incarceration camps in response to Japan’s 1941 attack on Pearl Harbor.\u003c/p>\n\u003cp>When she captured the gold over 50 years later, media coverage partially focused on why she didn’t seem to have many endorsement deals. In an AP article from 1992, a sports advertising executive blamed her Japanese heritage, citing an economic climate that was anti-Japan. “It’s wrong, wrong, wrong, but that is the way it is,” the executive said.\u003c/p>\n\u003cp>So while Barbie may seem like just a toy, it’s so much more for Yamaguchi.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When kids see themselves or see someone who inspires them, then it just opens up their world and their imagination to what’s possible,” she said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many little girls, a young Kristi Yamaguchi loved playing with Barbie. With a schedule packed with ice skating practices, her Barbie dolls became her “best friends.”\u003c/p>\n\u003cp>So, it’s surreal for the decorated Olympian figure skater to now be a Barbie girl herself.\u003c/p>\n\u003cfigure id=\"attachment_13956584\" class=\"wp-caption aligncenter\" style=\"max-width: 794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM.png\" alt=\"A doll of an ice skater stands, one leg stretched out and arms raised on the ice. The doll is wearing a black lace and chiffon costume. \" width=\"794\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM.png 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM-160x193.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.54.50-AM-768x929.png 768w\" sizes=\"(max-width: 794px) 100vw, 794px\">\u003cfigcaption class=\"wp-caption-text\">This image provided by Mattel in April 2024 shows the company’s Kristi Yamaguchi Barbie doll. \u003ccite>(Mattel via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a huge, huge honor. I think a lot of pride comes along with it, not just recognizing the Olympic achievement, but also being recognized during AAPI Month and following in the footsteps of some incredible women that I idolize — Anna May Wong, Maya Angelou and Rosa Parks,” Yamaguchi told The Associated Press. “It’s hard to see me put in the category with them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It looks like me for sure. You know, the eyes and just the shape of the face. And then, of course, the hair, for sure. I mean, it has the bangs that are the ’90s,” Yamaguchi said, chuckling.\u003c/p>\n\u003cp>She appreciates that the doll’s release comes on the high heels of the blockbuster \u003cem>Barbie\u003c/em> movie last year. Her daughters, ages 18 and 20, are fans of the Oscar-nominated film. Their initial reaction to their mother being a Barbie? Disbelief.\u003c/p>\n\u003cp>“When they found out I was getting a doll, they were kind of flabbergasted and being like, ‘What? Like Mom, like how do you qualify? But that’s way too cool for you,’” Yamaguchi said.\u003c/p>\n\u003cp>When Yamaguchi became a household name in the ’90s, most Asian American children were growing up feeling like toys-aren’t-us kids. If you were an Asian parent looking for an Asian doll in the U.S., you likely turned to independent mail-order companies or waited until you were visiting your country of heritage.\u003c/p>\n\u003cfigure id=\"attachment_13956586\" class=\"wp-caption aligncenter\" style=\"max-width: 1066px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM.png\" alt=\"Close up of a smiling doll's face with impeccably styled hair, wearing earrings.\" width=\"1066\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM.png 1066w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-800x794.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-1020x1012.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-24-at-10.57.38-AM-768x762.png 768w\" sizes=\"(max-width: 1066px) 100vw, 1066px\">\u003cfigcaption class=\"wp-caption-text\">This image provided by Mattel in April 2024 shows the company’s Kristi Yamaguchi Barbie doll. \u003ccite>(Mattel via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since then, the toy market has evolved somewhat with big companies like Mattel diversifying and independent entrepreneurs filling the void. Two Asian doll lines — Jilly Bing and Joeydolls — launched within the last year, one by an Asian American mother and the other by an Asian Canadian mother. Both could not find dolls that looked like their daughters.\u003c/p>\n\u003cp>Sapna Cheryan, a professor of psychology at the University of Washington who served a year on Mattel’s Barbie Global Advisory Council in 2018, said Asian Americans have long dealt with two stereotypes: the model-minority whiz kid or the perpetual foreigner. Toys can help dispel those myths, and instead signal acceptance and inclusivity.\u003c/p>\n\u003cp>Dolls modeled after real people can get people talking about their human counterparts. Cheryan applauded Barbie’s choice of Yamaguchi.\u003c/p>\n\u003cp>“There are so many Asian American athletes but they’re just not propped up in a way that athletes of other racial groups are,” said Cheryan, who researches cultural stereotypes and their impact on race and gender disparities. “Having a match in terms of racial identification or gender or both,” she said, is important in creating effective role models for kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mattel has mostly garnered praise for its diversity efforts but it’s had some missteps along the way. In 2021, the toy maker said it “fell short” by failing to include an Asian doll in a line of Tokyo Olympics-themed Barbies. In January, there was some backlash to Asian “You Can Be Anything” Barbies that seemed stereotypical. One was a violinist and the other a doctor in panda scrubs.\u003c/p>\n\u003cp>Tying Yamaguchi to Barbie, a symbol of American pop culture, is especially remarkable considering what she and her family have dealt with as Japanese Americans. The Fremont-raised skater has spoken about how her maternal and paternal grandparents were forced into U.S. incarceration camps in response to Japan’s 1941 attack on Pearl Harbor.\u003c/p>\n\u003cp>When she captured the gold over 50 years later, media coverage partially focused on why she didn’t seem to have many endorsement deals. In an AP article from 1992, a sports advertising executive blamed her Japanese heritage, citing an economic climate that was anti-Japan. “It’s wrong, wrong, wrong, but that is the way it is,” the executive said.\u003c/p>\n\u003cp>So while Barbie may seem like just a toy, it’s so much more for Yamaguchi.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When kids see themselves or see someone who inspires them, then it just opens up their world and their imagination to what’s possible,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Challengers\u003c/em> is a bit of a tease. That’s what makes it fun.\u003c/p>\n\u003cp>There is plenty of skin, sweat, close-ups of muscly thighs and smoldering looks of lust and hate in this deliriously over-the-top psychodrama. But get that image of Josh O’Connor, Zendaya and Mike Faist sitting together on the bed out of your mind. Most of this action takes place on the tennis court.\u003c/p>\n\u003cp>[aside postid='arts_13955948']It’s still a sexy tennis movie about friendship, love, competition and sport set to a synth-y score from Trent Reznor and Atticus Ross — it just might not contain exactly what you think it does. But remember, Luca Guadagnino is the one who filmed Timothée Chalamet with that peach, perhaps more memorable than any actual sex scene from the past decade. Manage expectations, but also trust.\u003c/p>\n\u003cp>And like \u003cem>Call Me By Your Name\u003c/em> did for Chalamet, \u003cem>Challengers\u003c/em> is one of those rare original big-screen delights that firmly announces the arrival of a new generation of movie stars. Zendaya and Faist already had a bit of a leg up. She has played significant supporting roles in some of the biggest movies of the past few years, from \u003cem>Spider-Man\u003c/em> to \u003cem>Dune\u003c/em>, and he had had his big cinematic breakthrough as Riff in Steven Spielberg’s \u003cem>West Side Story\u003c/em>. But it’s O’Connor who really comes out on top, effectively shedding any lingering image of him as a whiny, dweeby Prince Charles in seasons three and four of \u003cem>The Crown\u003c/em>. In \u003cem>Challengers\u003c/em>, his Patrick Zweig is the cocky, flirty, slightly mean, slightly dirty and slightly broken bad boyfriend of our fictional dreams.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2N3hmRmwHQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by playwright Justin Kuritzkes (who is married to \u003cem>Past Lives\u003c/em> filmmaker Celine Song), \u003cem>Challengers\u003c/em> is a prickly treat, about fractured relationships, egos, infidelity and ambition. Set during a qualifying match at the New Rochelle Tennis Club, outside New York City, the intricately woven story reveals itself through flashbacks that build to a crescendo in the present-day match.\u003c/p>\n\u003cp>[aside postid='arts_13955729']O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.\u003c/p>\n\u003cp>Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.\u003c/p>\n\u003cp>Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his \u003cem>A Bigger Splash\u003c/em> and \u003cem>Call Me By Your Name\u003c/em> have in the past.\u003c/p>\n\u003cp>[aside postid='arts_13956480']But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the \u003cem>Saturday Night Live\u003c/em> spoof.\u003c/p>\n\u003cp>\u003cem>Challengers\u003c/em> is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Challengers’ is released nationwide on April 26, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s still a sexy tennis movie about friendship, love, competition and sport set to a synth-y score from Trent Reznor and Atticus Ross — it just might not contain exactly what you think it does. But remember, Luca Guadagnino is the one who filmed Timothée Chalamet with that peach, perhaps more memorable than any actual sex scene from the past decade. Manage expectations, but also trust.\u003c/p>\n\u003cp>And like \u003cem>Call Me By Your Name\u003c/em> did for Chalamet, \u003cem>Challengers\u003c/em> is one of those rare original big-screen delights that firmly announces the arrival of a new generation of movie stars. Zendaya and Faist already had a bit of a leg up. She has played significant supporting roles in some of the biggest movies of the past few years, from \u003cem>Spider-Man\u003c/em> to \u003cem>Dune\u003c/em>, and he had had his big cinematic breakthrough as Riff in Steven Spielberg’s \u003cem>West Side Story\u003c/em>. But it’s O’Connor who really comes out on top, effectively shedding any lingering image of him as a whiny, dweeby Prince Charles in seasons three and four of \u003cem>The Crown\u003c/em>. In \u003cem>Challengers\u003c/em>, his Patrick Zweig is the cocky, flirty, slightly mean, slightly dirty and slightly broken bad boyfriend of our fictional dreams.\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/-2N3hmRmwHQ'\n title='//www.youtube.com/embed/-2N3hmRmwHQ'\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>O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.\u003c/p>\n\u003cp>Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.\u003c/p>\n\u003cp>Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his \u003cem>A Bigger Splash\u003c/em> and \u003cem>Call Me By Your Name\u003c/em> have in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the \u003cem>Saturday Night Live\u003c/em> spoof.\u003c/p>\n\u003cp>\u003cem>Challengers\u003c/em> is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Challengers’ is released nationwide on April 26, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>[aside postid='arts_11299066']These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ShYl5K8Nlq8\u003c/p>\n\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>[aside postid='arts_13955854']The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>HBO’s \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">\u003cem>The Jinx\u003c/em>,\u003c/a> which aired in 2015 (yes, nine years ago), was a huge contributor to the true-crime boom in television and audio. It came out the same year as Netflix’s \u003ca href=\"https://www.npr.org/2016/01/05/461908092/over-10-years-two-filmmakers-documented-the-making-a-murderer\">\u003cem>Making a Murderer\u003c/em> \u003c/a>and only a few months after the first season of the podcast \u003ca href=\"https://www.npr.org/2014/12/18/371636304/sarah-koenig-on-serial-i-think-something-went-wrong-with-this-case\">\u003cem>Serial\u003c/em>\u003c/a>. Few later attempts have been as successful, though, because they lack \u003cem>The Jinx\u003c/em>‘s secret weapon: the participation of the extraordinarily strange, compulsively talkative, and now deceased subject, Robert Durst.\u003c/p>\n\u003cp>The story of the docuseries goes like this: Durst had long been suspected in both the disappearance of his wife, Kathie, in 1982 and the shooting death of his best friend, Susan Berman, in 2000. He had admitted shooting his neighbor, Morris Black, in 2001 but was acquitted by a jury on a theory of self-defense. For reasons known only to himself, Durst chose to live out his life as an ultrawealthy real estate tycoon, but also to sit for long interviews with director Andrew Jarecki for \u003cem>The Jinx \u003c/em>to discuss the alleged crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These interviews were what made \u003cem>The Jinx \u003c/em>so compelling. Durst could not stop himself from talking, even when staying silent was obviously in his best interests. This extended to a hot-mic incident that Jarecki treated as a bombshell confession, even though it turned out to be a \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">bit more complicated than that\u003c/a>. The day before the finale aired, Durst was arrested for the murder of Berman, based in part on evidence that the documentarians had uncovered and provided to law enforcement. This follow-up series essentially covers his trial and the time leading up to it. But it, too, lacks the punch that Durst’s presence offered the original.\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/ShYl5K8Nlq8'\n title='//www.youtube.com/embed/ShYl5K8Nlq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are some things about the self-referential nature of this second chapter that are a little unpleasant. \u003cem>The Jinx \u003c/em>is now part of the story of Durst’s life after his arrest. The filmmakers show some footage of the series finale viewing party they held in 2015 for (among others) the family of the disappeared first wife Durst is suspected of having killed. We watch their (apparent) relief and gratitude when the “confession” is played. Not shown: the incident \u003ca href=\"https://www.nytimes.com/2019/04/24/arts/television/robert-durst-the-jinx.html\">reported in \u003cem>The New York Times\u003c/em>\u003c/a> in which another guest at the same party (Rosie O’Donnell, for whatever reason) immediately demanded to know why the filmmakers would have withheld this evidence from law enforcement to use it as the kicker to the show, a question that played out in the press as well, along with some \u003ca href=\"https://www.npr.org/2015/03/18/376989647/the-jinx-and-the-challenges-of-public-curiosity\">other tough questions about the making of\u003c/a> \u003cem>The Jinx\u003c/em>. But the way the viewing party is shown in \u003cem>Part Two\u003c/em>, nobody felt anything but vindicated and thankful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It seems questionable to set up a viewing party for a putative victim’s family and film their reaction to your big reveal about her murder, and a bit sketchy to omit parts where people weren’t sure you were doing the good deed you think you were doing.\u003c/p>\n\u003cp>Ethically, those things raise some questions. But as television, the biggest problem with the episodes HBO provided to critics (four out of what will eventually be six) is that they’re pretty boring. Without Durst’s involvement (it seems that he finally stopped participating in documentary-making after he was arrested and died shortly after his conviction), the series often seems to be grasping for revelations. It’s also heavily reliant on reenactments, which aren’t particularly visually interesting and look a lot like every other true-crime reenactment on TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The third episode is the best of the four; without spoiling it, it sheds a bit of additional light on the back story, if you’re still looking for it. But what \u003cem>The Jinx — Part Two\u003c/em> reveals is that \u003cem>The Jinx \u003c/em>was interesting because while Durst might be a murderer, he was also a gruesomely fascinating interview subject. While there’s tape here of phone calls from when he was incarcerated, and sometimes you get those “Bob being Bob” moments, the mesmerizing aspects of the original are not there.\u003c/p>\n\u003cp>There’s no telling what might come in the final two episodes; perhaps they have more to say, and that’s why they were held back from critics. The big revelations in \u003cem>The Jinx \u003c/em>came in the last two episodes, after all. But in the meantime, this feels like a mystery show in search of a mystery, a true crime series with limited truths to share.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+far%2C+the+biggest+mystery+of+the+new+%27Jinx%27+is%3A+What%27s+the+mystery%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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