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"content": "\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>[aside postid='arts_13954333']She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sDhsfV7r_1w\u003c/p>\n\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>[aside postid='arts_13953248']But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\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/sDhsfV7r_1w'\n title='//www.youtube.com/embed/sDhsfV7r_1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Threats, Debt and Trump’s Advances: ‘Stormy’ Doc Examines the Life of Stormy Daniels | KQED",
"content": "\u003cp>The new documentary \u003ca href=\"https://www.peacocktv.com/blog/watch-the-trailer-for-stormy\">\u003cem>Stormy \u003c/em>\u003c/a>begins in 2023 — around the time former President Donald Trump was indicted over hush-money payments made during his 2016 presidential campaign.\u003c/p>\n\u003cp>Stormy Daniels, who was paid by Trump’s lawyer Michael Cohen to keep quiet about their alleged previous affair, watches the news unfold on TV and then says, “Let’s go,” before she walks off screen.\u003c/p>\n\u003cp>\u003cem>Stormy\u003c/em> chronicles Daniels’ life from her childhood in Baton Rouge, La., to her rise as an adult film actor and then, in the opinion of some, a feminist hero. It also gives viewers a glimpse into how she went from friend to foe of a celebrity businessman who became president of the United States.\u003c/p>\n\u003cp>“I am here today to tell my story and even if I just change a few people’s minds, it’s fine. If not, at least my daughter can look back on this and know the truth,” she said in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tE7h_TJkxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>[aside postid='arts_13954225']On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>[aside postid='arts_13954104']But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>[aside postid='arts_13938155']But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951078']“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\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=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new documentary \u003ca href=\"https://www.peacocktv.com/blog/watch-the-trailer-for-stormy\">\u003cem>Stormy \u003c/em>\u003c/a>begins in 2023 — around the time former President Donald Trump was indicted over hush-money payments made during his 2016 presidential campaign.\u003c/p>\n\u003cp>Stormy Daniels, who was paid by Trump’s lawyer Michael Cohen to keep quiet about their alleged previous affair, watches the news unfold on TV and then says, “Let’s go,” before she walks off screen.\u003c/p>\n\u003cp>\u003cem>Stormy\u003c/em> chronicles Daniels’ life from her childhood in Baton Rouge, La., to her rise as an adult film actor and then, in the opinion of some, a feminist hero. It also gives viewers a glimpse into how she went from friend to foe of a celebrity businessman who became president of the United States.\u003c/p>\n\u003cp>“I am here today to tell my story and even if I just change a few people’s minds, it’s fine. If not, at least my daughter can look back on this and know the truth,” she said in the film.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_tE7h_TJkxg'\n title='//www.youtube.com/embed/_tE7h_TJkxg'\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>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
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"content": "\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13953248']“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y0ZsLudtfjI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>[aside postid='arts_13951144']“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13953601']Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\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/Y0ZsLudtfjI'\n title='//www.youtube.com/embed/Y0ZsLudtfjI'\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>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8\u003c/p>\n\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>[aside postid='arts_13952301']The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>[aside postid='arts_13954052']Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\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=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\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/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\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=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach",
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"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse",
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"content": "\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>[aside postid='arts_13953754']Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>[aside postid='arts_13953731']Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13952713']Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\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=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\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=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
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"content": "\u003cp>We all know the basics of President Abraham Lincoln’s assassination. In a Washington, D.C. theater 159 years ago, Lincoln was shot in the back of the head by actor John Wilkes Booth, while Lincoln was watching \u003cem>Our American Cousin\u003c/em> with his wife. As with so many major events from history the murder has, over time, merely become part of our national story — more and more devoid of emotional heft as time ticks along.\u003c/p>\n\u003cp>A new seven-part series from Apple TV+ now aims to change that, vividly taking us back to the murder, the political chaos that followed and, most importantly, the 12-day-long chase that culminated in the death of Booth and the trial of (some of) his co-conspirators. Despite a winding storyline and an overuse of time jumps, \u003cem>Manhunt\u003c/em> somehow succeeds in being consistently gripping. The series plays out like a crime thriller, only one full of people whose names we might already know.\u003c/p>\n\u003cp>[aside postid='arts_13951349']At the center of the story is Lincoln’s secretary of war, Edwin Stanton (Tobias Menzies). Stanton puts his own health and personal life at risk as he relentlessly pursues Booth (played by a convincingly petulant Anthony Boyle), while also trying to enact Lincoln’s final political wishes. We enter meetings with the likes of Frederick Douglass (Elvis Nolasco) and President Andrew Johnson (Glenn Morshower). We get to know the determined man in charge of the hunt for Booth, detective Lafayette Baker (Patton Oswald). We even see questions raised about \u003ca href=\"https://www.cnn.com/2016/07/06/health/mary-todd-lincoln-pernicious-anemia/index.html\">the mental health of Mary Todd Lincoln\u003c/a> and her ability to look after herself as a widow.\u003c/p>\n\u003cp>\u003cem>Manhunt\u003c/em> offers an engrossing education about American life during the Civil War and after the assassination. That goes for the famous people at the center of the story, and those unknowns operating on the ground around them. However, as with so many dramatizations of true stories (see also: \u003cem>The Crown\u003c/em> — coincidentally also starring Menzies), \u003cem>Manhunt\u003c/em> intermingles true events with some flagrant embellishments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFT-b8eKdSo&t=7s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One particularly troubling scene has Stanton burning pages from Booth’s diary. What happened to the diary’s missing pages has long been the subject of \u003ca href=\"https://en.wikipedia.org/wiki/Otto_Eisenschiml\">conjecture and conspiracy theory\u003c/a>. \u003cem>Manhunt\u003c/em> makes the bold choice to lay the responsibility at Stanton’s feet even though, in reality, the diary changed hands several times and no definitive answer has ever emerged about what really happened to those pages.\u003c/p>\n\u003cp>[aside postid='arts_13952433']Where \u003cem>Manhunt\u003c/em> truly takes on a life of its own is in its depiction of Mary Simms (Lovie Simone). It is true that the real-life Simms and her brother were enslaved by Samuel Mudd — the doctor who briefly housed Booth and treated the assassin’s broken leg. It is also true that Simms, in an extraordinarily brave move, testified against Mudd at his much-publicized trial.\u003c/p>\n\u003cp>Simms is central to some of the show’s most enthralling storylines. We see her kidnapped as a child and enslaved by Mudd. At the end of the war, she escapes Mudd’s home and starts teaching local Black children how to read and write. After the land granted to her at the end of the Civil War is reclaimed by Johnson’s government, she is forced to return to Mudd’s house. Crucially, in the show, we also see her directly interacting with Booth while he’s on the run, and with Stanton before and after the trial.\u003c/p>\n\u003cp>Disappointingly, there is no evidence that any of this actually happened.\u003c/p>\n\u003cfigure id=\"attachment_13954156\" class=\"wp-caption aligncenter\" style=\"max-width: 1606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png\" alt=\"A Black woman wearing a bonnet and carrying a basket walks through the woods with a Black man who is carrying a sack and wearing period clothing from the 1860s.\" width=\"1606\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1536x974.png 1536w\" sizes=\"(max-width: 1606px) 100vw, 1606px\">\u003cfigcaption class=\"wp-caption-text\">Lovie Simone as Mary Simms and Antonio J. Bell as Milo Simms in ‘Manhunt.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as I can tell from the scant documentation that exists around Simms, in reality she was enslaved by Mudd for four years and escaped from his home in 1864, before Booth was ever on the property. During his trial, Simms testified that Mudd was a Southern sympathizer, protected Confederate soldiers at his home and was friends with John Surratt (another man accused of being a Booth co-conspirator). Simms also testified that Mudd said “he would have killed” Lincoln, given the opportunity. That’s about all we know about her for sure.\u003c/p>\n\u003cp>[aside postid='arts_13881675']So enamored was I with Simms’ story (as told by \u003cem>Manhunt\u003c/em>) that this entire review was originally going to center on introducing this little-known but important historical figure. Instead, Simms’ storyline is a reflection of the well-intentioned ways that \u003cem>Manhunt\u003c/em> can be misleading. People who worked on the show have since confirmed that Simms “\u003ca href=\"https://apnews.com/article/manhunt-abraham-lincoln-assassination-john-wilkes-booth-8611ad4c3c1029365ab6243cfcfab725\">was written as a composite\u003c/a>” of multiple people involved in the conviction of Booth’s co-conspirators. The version of Simms we see in the show was intended “to bring some of these heroes to light.”\u003c/p>\n\u003cp>Given how little documentation the lives of individual enslaved people inspired at the time, embellishing Simms’ backstory in order to bring her role in the trial to the forefront is an understandable choice. That being said, audiences would benefit from a note about \u003cem>Manhunt\u003c/em>’s use of artistic license at the top of each episode.\u003c/p>\n\u003cp>As an overview of the events and politics of the time, \u003cem>Manhunt\u003c/em> is undoubtedly useful. That a story with so many moving, conflicting, complex parts succeeds in being relatively easy to follow makes it something of a triumph. But it’s also important, in the midst of watching this entertaining, extremely convincing rendition of reality, to not take its word as gospel. Take it instead as a conduit for further investigation. You might be surprised by what you find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manhunt’ airs on Apple TV+ starting from March 15, 2024.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Apple TV+’s new seven-episode series turns Abraham Lincoln’s assassination into an enthralling crime thriller. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know the basics of President Abraham Lincoln’s assassination. In a Washington, D.C. theater 159 years ago, Lincoln was shot in the back of the head by actor John Wilkes Booth, while Lincoln was watching \u003cem>Our American Cousin\u003c/em> with his wife. As with so many major events from history the murder has, over time, merely become part of our national story — more and more devoid of emotional heft as time ticks along.\u003c/p>\n\u003cp>A new seven-part series from Apple TV+ now aims to change that, vividly taking us back to the murder, the political chaos that followed and, most importantly, the 12-day-long chase that culminated in the death of Booth and the trial of (some of) his co-conspirators. Despite a winding storyline and an overuse of time jumps, \u003cem>Manhunt\u003c/em> somehow succeeds in being consistently gripping. The series plays out like a crime thriller, only one full of people whose names we might already know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the story is Lincoln’s secretary of war, Edwin Stanton (Tobias Menzies). Stanton puts his own health and personal life at risk as he relentlessly pursues Booth (played by a convincingly petulant Anthony Boyle), while also trying to enact Lincoln’s final political wishes. We enter meetings with the likes of Frederick Douglass (Elvis Nolasco) and President Andrew Johnson (Glenn Morshower). We get to know the determined man in charge of the hunt for Booth, detective Lafayette Baker (Patton Oswald). We even see questions raised about \u003ca href=\"https://www.cnn.com/2016/07/06/health/mary-todd-lincoln-pernicious-anemia/index.html\">the mental health of Mary Todd Lincoln\u003c/a> and her ability to look after herself as a widow.\u003c/p>\n\u003cp>\u003cem>Manhunt\u003c/em> offers an engrossing education about American life during the Civil War and after the assassination. That goes for the famous people at the center of the story, and those unknowns operating on the ground around them. However, as with so many dramatizations of true stories (see also: \u003cem>The Crown\u003c/em> — coincidentally also starring Menzies), \u003cem>Manhunt\u003c/em> intermingles true events with some flagrant embellishments.\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/VFT-b8eKdSo'\n title='//www.youtube.com/embed/VFT-b8eKdSo'\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>One particularly troubling scene has Stanton burning pages from Booth’s diary. What happened to the diary’s missing pages has long been the subject of \u003ca href=\"https://en.wikipedia.org/wiki/Otto_Eisenschiml\">conjecture and conspiracy theory\u003c/a>. \u003cem>Manhunt\u003c/em> makes the bold choice to lay the responsibility at Stanton’s feet even though, in reality, the diary changed hands several times and no definitive answer has ever emerged about what really happened to those pages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>Manhunt\u003c/em> truly takes on a life of its own is in its depiction of Mary Simms (Lovie Simone). It is true that the real-life Simms and her brother were enslaved by Samuel Mudd — the doctor who briefly housed Booth and treated the assassin’s broken leg. It is also true that Simms, in an extraordinarily brave move, testified against Mudd at his much-publicized trial.\u003c/p>\n\u003cp>Simms is central to some of the show’s most enthralling storylines. We see her kidnapped as a child and enslaved by Mudd. At the end of the war, she escapes Mudd’s home and starts teaching local Black children how to read and write. After the land granted to her at the end of the Civil War is reclaimed by Johnson’s government, she is forced to return to Mudd’s house. Crucially, in the show, we also see her directly interacting with Booth while he’s on the run, and with Stanton before and after the trial.\u003c/p>\n\u003cp>Disappointingly, there is no evidence that any of this actually happened.\u003c/p>\n\u003cfigure id=\"attachment_13954156\" class=\"wp-caption aligncenter\" style=\"max-width: 1606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png\" alt=\"A Black woman wearing a bonnet and carrying a basket walks through the woods with a Black man who is carrying a sack and wearing period clothing from the 1860s.\" width=\"1606\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1536x974.png 1536w\" sizes=\"(max-width: 1606px) 100vw, 1606px\">\u003cfigcaption class=\"wp-caption-text\">Lovie Simone as Mary Simms and Antonio J. Bell as Milo Simms in ‘Manhunt.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as I can tell from the scant documentation that exists around Simms, in reality she was enslaved by Mudd for four years and escaped from his home in 1864, before Booth was ever on the property. During his trial, Simms testified that Mudd was a Southern sympathizer, protected Confederate soldiers at his home and was friends with John Surratt (another man accused of being a Booth co-conspirator). Simms also testified that Mudd said “he would have killed” Lincoln, given the opportunity. That’s about all we know about her for sure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So enamored was I with Simms’ story (as told by \u003cem>Manhunt\u003c/em>) that this entire review was originally going to center on introducing this little-known but important historical figure. Instead, Simms’ storyline is a reflection of the well-intentioned ways that \u003cem>Manhunt\u003c/em> can be misleading. People who worked on the show have since confirmed that Simms “\u003ca href=\"https://apnews.com/article/manhunt-abraham-lincoln-assassination-john-wilkes-booth-8611ad4c3c1029365ab6243cfcfab725\">was written as a composite\u003c/a>” of multiple people involved in the conviction of Booth’s co-conspirators. The version of Simms we see in the show was intended “to bring some of these heroes to light.”\u003c/p>\n\u003cp>Given how little documentation the lives of individual enslaved people inspired at the time, embellishing Simms’ backstory in order to bring her role in the trial to the forefront is an understandable choice. That being said, audiences would benefit from a note about \u003cem>Manhunt\u003c/em>’s use of artistic license at the top of each episode.\u003c/p>\n\u003cp>As an overview of the events and politics of the time, \u003cem>Manhunt\u003c/em> is undoubtedly useful. That a story with so many moving, conflicting, complex parts succeeds in being relatively easy to follow makes it something of a triumph. But it’s also important, in the midst of watching this entertaining, extremely convincing rendition of reality, to not take its word as gospel. Take it instead as a conduit for further investigation. You might be surprised by what you find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manhunt’ airs on Apple TV+ starting from March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster",
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"content": "\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>[aside postid='pop_103656']“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>[aside postid='arts_13866072']It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\n\u003cp>https://twitter.com/KensingtonRoyal/status/1767135566645092616\u003c/p>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\n\u003cp>https://twitter.com/royalrota/status/1767207738990301243\u003c/p>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\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=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\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=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken",
"headTitle": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken | KQED",
"content": "\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d07lNlkn0Ug\u003c/p>\n\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Hj7QG7TLuc\u003c/p>\n\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VhWqpvGq6b4\u003c/p>\n\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>[aside postid='arts_13953817']Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\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=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d07lNlkn0Ug'\n title='//www.youtube.com/embed/d07lNlkn0Ug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\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/1Hj7QG7TLuc'\n title='//www.youtube.com/embed/1Hj7QG7TLuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\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/VhWqpvGq6b4'\n title='//www.youtube.com/embed/VhWqpvGq6b4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\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=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: The Complete List of Winners",
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"content": "\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13938158']WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931577']WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931543']WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953777']WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931753']WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953477']WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\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=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\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=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Oscars",
"headTitle": "Red Carpet Looks From the 2024 Oscars | KQED",
"content": "\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-768x1123.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Diane Warren. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2074533233-scaled-e1710128297727.jpg\" alt=\"A white man and an Asian man, both wearing tuxedos gesture wildly next to two elderly Asian women, both wearing dark sunglasses and flamboyant suits.\" width=\"1920\" height=\"1331\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang, Zhang Li Hua, Sam Davis and Yi Yan Fuei. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out the most memorable ensembles from Hollywood’s biggest night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, 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\u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback",
"headTitle": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>[aside postid='arts_13950821']In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>[aside postid='arts_13953424']At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\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=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\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=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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},
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},
"perspectives": {
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"order": 14
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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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"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",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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": {
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