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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s another big win for the NFL since it’ll be difficult for the Jets to keep up with the high-flying Chiefs if Zach Wilson is still their quarterback. He should be since the team only signed Trevor Siemian this week. If the score gets out of control, expect the Swifties to stick with the NBC broadcast to see when the television cameras pan to the 12-time Grammy Award winner.\u003c/p>\n\u003cp>Betting sites are offering odds on how much face time Swift gets during the game, what color she will wear, which broadcaster says her name first, who she’ll sit with and much more.\u003c/p>\n\u003cp>Nobody reaps the benefit of this relationship more than the NFL, which already was doing just fine before Swift crashed the stadium and brought her 367 million followers on Instagram and X to the party.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The attention exceeds even the league’s wildest dreams.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>[aside postid='arts_13935443']As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ex3C1-5Dhb8\u003c/p>\n\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>[aside postid='arts_13935225']In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\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/ex3C1-5Dhb8'\n title='//www.youtube.com/embed/ex3C1-5Dhb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’",
"headTitle": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’ | KQED",
"content": "\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>[aside postid='arts_13935219']As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vICUPlr3EEI\u003c/p>\n\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>[aside postid='arts_13934736']On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\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>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\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/vICUPlr3EEI'\n title='//www.youtube.com/embed/vICUPlr3EEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\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>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl",
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"content": "\u003cp>[aside postid='arts_13902953']In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P7lbJ0Oi6Jc&list=RDEMt2y_auEXtocfjlb6IFHw7g&index=2\u003c/p>\n\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\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>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The all-female punk outfit influenced members of Faith No More, L7 and Hole. In 2023, Frightwig remains as fiery as ever.",
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"title": "Frightwig ‘We Need to Talk’: San Francisco Punks Return Strong | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\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/P7lbJ0Oi6Jc'\n title='//www.youtube.com/embed/P7lbJ0Oi6Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\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>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Rare Truman Capote Story From the Early 1950s Has Been Published for the First Time",
"headTitle": "A Rare Truman Capote Story From the Early 1950s Has Been Published for the First Time | KQED",
"content": "\u003cp>Along with such classics as \u003cem>In Cold Blood\u003c/em> and \u003cem>Breakfast at Tiffany’s\u003c/em>, Truman Capote had a history of work left uncompleted and unpublished.\u003c/p>\n\u003cp>Capote, who died in 1984 shortly before his 60th birthday, spent much of his latter years struggling to write his planned Proustian masterpiece \u003cem>Answered Prayers\u003c/em>, of which only excerpts were released. As a young man, he wrote a novel about a love affair between a socialite and a parking lot attendant that was published posthumously under the title \u003cem>Summer Crossing\u003c/em>.\u003c/p>\n\u003cp>Shorter work, too, was sometimes set aside, including a piece released last week for the first time.\u003c/p>\n\u003cp>[aside postid='pop_6592']Capote was in his mid-20s and a rising star when he moved from New York City to Taormina, Sicily, in 1950 and settled in a scenic villa named Fontana Vecchia, once occupied by D.H. Lawrence. Acclaimed for his debut novel, \u003cem>Other Voices, Other Rooms\u003c/em>, and for his eerie short story \u003cem>Miriam\u003c/em>, Capote would describe the move to Europe as a needed escape from the American literary scene, which he likened to living inside a light bulb, and an ideal setting to get work done: He wrote the novel \u003cem>The Grass Harp\u003c/em> in Sicily and worked on numerous short stories.\u003c/p>\n\u003cp>“I am so happy to be writing stories again — they are my great love,” he wrote to a friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One story from Sicily, \u003cem>Another Day In Paradise\u003c/em>, is a vignette that appears in the new issue of \u003ca href=\"https://strandmag.com/\">\u003cem>The Strand\u003c/em> \u003cem>Magazine\u003c/em>\u003c/a>. Written at a time of relative contentment for Capote, \u003cem>Another Day\u003c/em> is a narrative of disillusion and entrapment: The middle-aged American heiress Iris Greentree has used her inheritance — a small one because her mother didn’t trust her with money — to buy a villa in Sicily. She will end up betrayed by the local man who persuaded her to invest her money, Signor Carlo Petruzzi, and too broke to sell the home and return to the U.S.\u003c/p>\n\u003cp>“The past had trained her to envision an affair from a futureless angle; at the most, she hoped such episodes would end in friendship. It was so humiliating that Carlo should have turned out not to be a friend. She’d trusted him to the extent of her capital: let him sell her the land, allowed him to build the villa, supply, at pirate prices, the native paraphernalia that furnished it,” Capote wrote.\u003c/p>\n\u003cp>“He was an emotional crook and, beyond that, a common gangster who’d pocketed at least half the money supposedly spent on Belle Vista. All this she could forgive him — could, but didn’t. The unforgivable aspect of the ghastly man’s behavior was that it had destroyed the meaning of these lines in her journal: `I belong. At last, somewhere.’”\u003c/p>\n\u003cfigure id=\"attachment_13935319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg\" alt=\"A middle-aged man sits on a pillow-strewn sofa, before a red wall. He is wearing a shirt and slacks and sits with his legs crossed.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Truman Capote sits in his New York apartment during interview about his book, ‘Music for Chameleons.’ \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Capote’s fiction was set in New York or in the American South, but \u003cem>Another Day in Paradise\u003c/em> has the easy pace, decorative language and cutting — sometimes cruel — humor of his best known work, and the themes of loneliness, fear and regret. Thomas Fahy, author of \u003cem>Understanding Truman Capote\u003c/em>, says that the author likely related to Iris Greentree’s sense of displacement and alienation.\u003c/p>\n\u003cp>“He was constantly moving around as a child, from New Orleans to Alabama to New York to Connecticut,” Fahy says. “You could see how his life became very lonely and isolated.”\u003c/p>\n\u003cp>[aside postid='arts_13934945']\u003cem>The Strand\u003c/em> has published rare works by Ernest Hemingway, John Steinbeck and many others. Managing editor Andrew Gulli found the Capote story in the Library of Congress, inside an “old red- and gold-scrolled Florentine notebook,” he writes on the \u003cem>Strand\u003c/em> editorial page. The handwritten manuscript, worked in pencil, was at times so hard to make out that Gulli needed a transcriber to help prepare it for publication.\u003c/p>\n\u003cp>Fahy says that Capote’s time in Sicily, where he remained for just over a year, left him with the kind of feelings many authors have when away from their native countries — a heightened sense of distance from home that likely helped inspire \u003cem>Another Day in Paradise\u003c/em>, and a heightened clarity, which he drew upon for \u003cem>The Grass Harp\u003c/em> and its memories of his years in Monroeville, Alabama.\u003c/p>\n\u003cp>Capote biographer Gerard Clarke says that the author moved to Sicily in part because his partner, Jack Dunphy, wanted to live overseas, and because the strong American dollar made Italy more affordable than New York. Neither Clarke nor Fahy could cite a specific real-life model for Iris Greentree, but Capote does refer to a possible inspiration — the aunt of a boy who delivers ice — in his essay “Fontana Vecchia,” written in the early 1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Blond, witty, the ice boy is a scholarly-looking child of eleven. He has a beautiful young aunt, one of the most attractive girls I have ever known, and I often talk to him about her,” Capote writes. “Why, I wanted to know, does A., the aunt, have no beau? Why is she all alone, never at the dances or the Sunday promenades? The ice boy says it is because his aunt has no use for the local men, that she is very unhappy and longs only to go to America.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along with such classics as \u003cem>In Cold Blood\u003c/em> and \u003cem>Breakfast at Tiffany’s\u003c/em>, Truman Capote had a history of work left uncompleted and unpublished.\u003c/p>\n\u003cp>Capote, who died in 1984 shortly before his 60th birthday, spent much of his latter years struggling to write his planned Proustian masterpiece \u003cem>Answered Prayers\u003c/em>, of which only excerpts were released. As a young man, he wrote a novel about a love affair between a socialite and a parking lot attendant that was published posthumously under the title \u003cem>Summer Crossing\u003c/em>.\u003c/p>\n\u003cp>Shorter work, too, was sometimes set aside, including a piece released last week for the first time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Capote was in his mid-20s and a rising star when he moved from New York City to Taormina, Sicily, in 1950 and settled in a scenic villa named Fontana Vecchia, once occupied by D.H. Lawrence. Acclaimed for his debut novel, \u003cem>Other Voices, Other Rooms\u003c/em>, and for his eerie short story \u003cem>Miriam\u003c/em>, Capote would describe the move to Europe as a needed escape from the American literary scene, which he likened to living inside a light bulb, and an ideal setting to get work done: He wrote the novel \u003cem>The Grass Harp\u003c/em> in Sicily and worked on numerous short stories.\u003c/p>\n\u003cp>“I am so happy to be writing stories again — they are my great love,” he wrote to a friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One story from Sicily, \u003cem>Another Day In Paradise\u003c/em>, is a vignette that appears in the new issue of \u003ca href=\"https://strandmag.com/\">\u003cem>The Strand\u003c/em> \u003cem>Magazine\u003c/em>\u003c/a>. Written at a time of relative contentment for Capote, \u003cem>Another Day\u003c/em> is a narrative of disillusion and entrapment: The middle-aged American heiress Iris Greentree has used her inheritance — a small one because her mother didn’t trust her with money — to buy a villa in Sicily. She will end up betrayed by the local man who persuaded her to invest her money, Signor Carlo Petruzzi, and too broke to sell the home and return to the U.S.\u003c/p>\n\u003cp>“The past had trained her to envision an affair from a futureless angle; at the most, she hoped such episodes would end in friendship. It was so humiliating that Carlo should have turned out not to be a friend. She’d trusted him to the extent of her capital: let him sell her the land, allowed him to build the villa, supply, at pirate prices, the native paraphernalia that furnished it,” Capote wrote.\u003c/p>\n\u003cp>“He was an emotional crook and, beyond that, a common gangster who’d pocketed at least half the money supposedly spent on Belle Vista. All this she could forgive him — could, but didn’t. The unforgivable aspect of the ghastly man’s behavior was that it had destroyed the meaning of these lines in her journal: `I belong. At last, somewhere.’”\u003c/p>\n\u003cfigure id=\"attachment_13935319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg\" alt=\"A middle-aged man sits on a pillow-strewn sofa, before a red wall. He is wearing a shirt and slacks and sits with his legs crossed.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-515128038-scaled-e1695670707199-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Truman Capote sits in his New York apartment during interview about his book, ‘Music for Chameleons.’ \u003ccite>(Bettmann/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Capote’s fiction was set in New York or in the American South, but \u003cem>Another Day in Paradise\u003c/em> has the easy pace, decorative language and cutting — sometimes cruel — humor of his best known work, and the themes of loneliness, fear and regret. Thomas Fahy, author of \u003cem>Understanding Truman Capote\u003c/em>, says that the author likely related to Iris Greentree’s sense of displacement and alienation.\u003c/p>\n\u003cp>“He was constantly moving around as a child, from New Orleans to Alabama to New York to Connecticut,” Fahy says. “You could see how his life became very lonely and isolated.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Strand\u003c/em> has published rare works by Ernest Hemingway, John Steinbeck and many others. Managing editor Andrew Gulli found the Capote story in the Library of Congress, inside an “old red- and gold-scrolled Florentine notebook,” he writes on the \u003cem>Strand\u003c/em> editorial page. The handwritten manuscript, worked in pencil, was at times so hard to make out that Gulli needed a transcriber to help prepare it for publication.\u003c/p>\n\u003cp>Fahy says that Capote’s time in Sicily, where he remained for just over a year, left him with the kind of feelings many authors have when away from their native countries — a heightened sense of distance from home that likely helped inspire \u003cem>Another Day in Paradise\u003c/em>, and a heightened clarity, which he drew upon for \u003cem>The Grass Harp\u003c/em> and its memories of his years in Monroeville, Alabama.\u003c/p>\n\u003cp>Capote biographer Gerard Clarke says that the author moved to Sicily in part because his partner, Jack Dunphy, wanted to live overseas, and because the strong American dollar made Italy more affordable than New York. Neither Clarke nor Fahy could cite a specific real-life model for Iris Greentree, but Capote does refer to a possible inspiration — the aunt of a boy who delivers ice — in his essay “Fontana Vecchia,” written in the early 1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Blond, witty, the ice boy is a scholarly-looking child of eleven. He has a beautiful young aunt, one of the most attractive girls I have ever known, and I often talk to him about her,” Capote writes. “Why, I wanted to know, does A., the aunt, have no beau? Why is she all alone, never at the dances or the Sunday promenades? The ice boy says it is because his aunt has no use for the local men, that she is very unhappy and longs only to go to America.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>[aside postid='arts_13934462']During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>[aside postid='arts_13933160']Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>[aside postid='arts_13928974']Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[aside postid='arts_13923161']“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Immigrant Teen Who Wants to Fit in Enters a Nightmare in ‘It Lives Inside’",
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"content": "\u003cp>A beautiful Indian American teen, Samidha (Megan Suri), just wants to fit in with her suburban classmates in the new horror \u003cem>It Lives Inside\u003c/em>. But there’s a demon at large and it’s not hormones or puberty — it’s a literal monster that will maim and kill you and anyone who tries to help in this grisly, if imperfect, metaphor for the immigrant experience.\u003c/p>\n\u003cp>[aside postid='arts_13931833']It’s the feature debut of Bishal Dutta, who co-wrote the film with Ashish Mehta, and crafts an effectively menacing PG-13 rated nail-biter centered around the interesting and conflicting dynamics of an Indian American family. The mom, Poorna (Neeru Bajwa) is determined to keep up with the traditions of the country they left behind. Samidha — sorry, Sam — would rather not, which her dad supports, in theory. She shaves her arms in the morning and posts a Kardashian-level selfie with a carefully chosen filter. She “forgets” the lunch her mother has packed her. She resents the Indian customs and holidays that prevent her from hanging out with the cute guy in her class. And she’s cast aside her old best friend, a fellow Indian American named Tamira (Mohana Krishnan), hoping that maybe she can just blend in and not be the “Indian girl” anymore. Essentially, she’s a normal teen, through and through.\u003c/p>\n\u003cp>Unfortunately for Sam, Tamira has gotten pretty weird. Her childhood friend skulks around school like a ghost, hidden behind a curtain of unbrushed hair and cradling a cloudy Mason jar like her life depended on it — not exactly the kind of person that an aspiring popular girl wants on her resume. And it just gets worse because, naturally, IT does live inside that Mason jar and that Mason jar is unable to withstand a fall to the floor. Oops.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w429YaoG67A\u003c/p>\n\u003cp>Dutta gets your heartrate going off the bat, with a creepy prologue as screams flood out of a normal suburban house, but Sam’s descent into one of the haunted never quite finds a suitable or consistent tone. It’s all moody, wide-eyed paranoia with \u003cem>Stranger Things\u003c/em> vibes that’s occasionally interrupted by run-of-the-mill jump-scares and demonic nightmare visions. It’ll startle and spook, but it also doesn’t feel incredibly original, which is an odd failure for a story that has chosen to focus on a very original threat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her parents are a bit confounding and frustrating too — as she becomes increasingly paranoid and scared (which seems reasonable after she witnesses the shocking death of a classmate, regardless of whether it was invisible demon or rabid wild animal) they respond like she’s just a delinquent who has broken curfew or been caught skipping school. The only one who seems to care and listen is her teacher (\u003cem>Get Out\u003c/em>’s Betty Gabriel), which does not put her in the good graces of the vindictive, flesh-eating Pishacha.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The story also doesn’t really grapple enough with the intriguing themes of assimilation, alienation and identity once the monster is at large — perhaps it’s because we’re simply plopped in the middle of a mystery that doesn’t give us enough to really care about anyone involved. One kid’s already dead. Tamira is already weird. Sam is already cool.\u003c/p>\n\u003cp>\u003cem>It Lives Inside\u003c/em> is still a welcome respite from the other long-in-the-tooth horror franchises populating theaters this time of year in that it’s just something new — new faces, new themes, a promising filmmaker to watch — but I wish it would have embraced more of the things that make it unique, as opposed to trying to fit in with its genre brethren. Sort of like Sam. I mean, Samidha.\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>‘It Lives Inside’ hits theaters on Sept. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the feature debut of Bishal Dutta, who co-wrote the film with Ashish Mehta, and crafts an effectively menacing PG-13 rated nail-biter centered around the interesting and conflicting dynamics of an Indian American family. The mom, Poorna (Neeru Bajwa) is determined to keep up with the traditions of the country they left behind. Samidha — sorry, Sam — would rather not, which her dad supports, in theory. She shaves her arms in the morning and posts a Kardashian-level selfie with a carefully chosen filter. She “forgets” the lunch her mother has packed her. She resents the Indian customs and holidays that prevent her from hanging out with the cute guy in her class. And she’s cast aside her old best friend, a fellow Indian American named Tamira (Mohana Krishnan), hoping that maybe she can just blend in and not be the “Indian girl” anymore. Essentially, she’s a normal teen, through and through.\u003c/p>\n\u003cp>Unfortunately for Sam, Tamira has gotten pretty weird. Her childhood friend skulks around school like a ghost, hidden behind a curtain of unbrushed hair and cradling a cloudy Mason jar like her life depended on it — not exactly the kind of person that an aspiring popular girl wants on her resume. And it just gets worse because, naturally, IT does live inside that Mason jar and that Mason jar is unable to withstand a fall to the floor. Oops.\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/w429YaoG67A'\n title='//www.youtube.com/embed/w429YaoG67A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dutta gets your heartrate going off the bat, with a creepy prologue as screams flood out of a normal suburban house, but Sam’s descent into one of the haunted never quite finds a suitable or consistent tone. It’s all moody, wide-eyed paranoia with \u003cem>Stranger Things\u003c/em> vibes that’s occasionally interrupted by run-of-the-mill jump-scares and demonic nightmare visions. It’ll startle and spook, but it also doesn’t feel incredibly original, which is an odd failure for a story that has chosen to focus on a very original threat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story also doesn’t really grapple enough with the intriguing themes of assimilation, alienation and identity once the monster is at large — perhaps it’s because we’re simply plopped in the middle of a mystery that doesn’t give us enough to really care about anyone involved. One kid’s already dead. Tamira is already weird. Sam is already cool.\u003c/p>\n\u003cp>\u003cem>It Lives Inside\u003c/em> is still a welcome respite from the other long-in-the-tooth horror franchises populating theaters this time of year in that it’s just something new — new faces, new themes, a promising filmmaker to watch — but I wish it would have embraced more of the things that make it unique, as opposed to trying to fit in with its genre brethren. Sort of like Sam. I mean, Samidha.\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>‘It Lives Inside’ hits theaters on Sept. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There’s a Lot to Love in the ‘Hair Love’-Inspired TV Series ‘Young Love’",
"headTitle": "There’s a Lot to Love in the ‘Hair Love’-Inspired TV Series ‘Young Love’ | KQED",
"content": "\u003cdiv class=\"storyMajorUpdateDate\">Zuri is a precocious 7-year-old who keeps her parents on their toes. One moment, she’s about to shave her face using her dad’s shaving cream and razor (mom and dad, in a burst of parental intuition, jump into the bathroom to stop that, just in the nick). In another, she’s trying to be nice as her mom tugs her hair into a frazzle of braids that her dad has to secretly undo and redo.\u003c/div>\n\u003cp>Zuri’s mom Angela is off her game for a good reason: she’s stepping back into the world after recovering from cancer treatments. And that wonderful combination of cute kid and struggling parents is what distinguishes \u003cem>Young Love\u003c/em>, which is a new series on Max spun out of an Oscar-winning short film.\u003c/p>\n\u003cp>[aside postid='arts_13871032']Issa Rae provides the voice of Angela, a hair stylist who is nervous enough about returning to her old salon that she circles Zuri’s school several times in the morning, delaying the drop-off to avoid going back to work.\u003c/p>\n\u003cp>Music fans will recognize rap star and actor Scott Mescudi — aka, Kid Cudi — as Zuri’s dad Stephen, an aspiring hip hop producer who learned to microwave frozen pancakes for breakfast and used zip ties to corral his daughter’s hair while Angela was in the hospital.\u003c/p>\n\u003cp>“I’m going to act like I didn’t hear any of that,” Angela says, after learning about Stephen’s shortcuts.\u003c/p>\n\u003cp>Rae and Mescudi are joined by veteran character actors Harry Lennix and Loretta Devine, who play Angela’s old-school parents, and Brooke Monroe Conaway shines as Zuri, who sounds super cute and innocent, even when she’s cutting up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tQq0YCRLUn0\u003c/p>\n\u003ch3>Family life that is both universal and specific\u003c/h3>\n\u003cp>This is the bustling, beautiful Black family at the heart of \u003cem>Young Love\u003c/em>, which continues the story of characters from the Oscar-winning short film, \u003cem>Hair Love\u003c/em>. That six-minute movie, released in 2019 and funded by a Kickstarter campaign, told the story of a Black father taking on a fearsome challenge — fixing his daughter’s hair, coached along by an online video.\u003c/p>\n\u003cp>[aside postid='arts_13934736']The kicker at the film’s end: The woman coaching in the video was Angela, who was waiting for Zuri and Stephen to pick her up from the hospital. As Zuri hugs her, we see the treatments have taken Angela’s hair away.\u003c/p>\n\u003cp>\u003cem>Young Love\u003c/em>‘s creator Matthew A. Cherry also wrote and co-directed \u003cem>Hair Love\u003c/em>, crafting both projects to celebrate and normalize Black hair and Black families.\u003c/p>\n\u003cp>In \u003cem>Young Love\u003c/em>, we see moments when they’re like any other family — Millennial parents struggling to balance work, home and an unexpected health scare. But they’re also steeped in Black culture, with a mom who works in a Black hair salon and a kid who dreams of sporting the coolest Afro puffs in town.\u003c/p>\n\u003cfigure id=\"attachment_13935210\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg\" alt=\"An illustration of a Black woman with her hands on a small Black girl's shoulders. They are reflected in an oval mirror.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae is Angela and Brooke Monroe Conaway is Zuri on ‘Young Love.’ \u003ccite>(Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TV series also has a different storytelling style than the film, which relied a lot on creative imagery and striking visuals to tell its story. \u003cem>Young Love\u003c/em> has slightly more sophisticated animation and a lot more dialogue, with a playful cleverness that centers the family in a caring community, even as they occasionally toss knowing wisecracks at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple yet entertaining and heartwarming formula. And at a time when so much TV is so cynical and depressing, it’s a pleasure to sink into a series that is smart, culturally on point and optimistic about the power of family to overcome all obstacles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=There%27s+a+lot+to+love+in+the+%27Hair+Love%27-inspired+TV+series+%27Young+Love%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\">Zuri is a precocious 7-year-old who keeps her parents on their toes. One moment, she’s about to shave her face using her dad’s shaving cream and razor (mom and dad, in a burst of parental intuition, jump into the bathroom to stop that, just in the nick). In another, she’s trying to be nice as her mom tugs her hair into a frazzle of braids that her dad has to secretly undo and redo.\u003c/div>\n\u003cp>Zuri’s mom Angela is off her game for a good reason: she’s stepping back into the world after recovering from cancer treatments. And that wonderful combination of cute kid and struggling parents is what distinguishes \u003cem>Young Love\u003c/em>, which is a new series on Max spun out of an Oscar-winning short film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Issa Rae provides the voice of Angela, a hair stylist who is nervous enough about returning to her old salon that she circles Zuri’s school several times in the morning, delaying the drop-off to avoid going back to work.\u003c/p>\n\u003cp>Music fans will recognize rap star and actor Scott Mescudi — aka, Kid Cudi — as Zuri’s dad Stephen, an aspiring hip hop producer who learned to microwave frozen pancakes for breakfast and used zip ties to corral his daughter’s hair while Angela was in the hospital.\u003c/p>\n\u003cp>“I’m going to act like I didn’t hear any of that,” Angela says, after learning about Stephen’s shortcuts.\u003c/p>\n\u003cp>Rae and Mescudi are joined by veteran character actors Harry Lennix and Loretta Devine, who play Angela’s old-school parents, and Brooke Monroe Conaway shines as Zuri, who sounds super cute and innocent, even when she’s cutting up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The kicker at the film’s end: The woman coaching in the video was Angela, who was waiting for Zuri and Stephen to pick her up from the hospital. As Zuri hugs her, we see the treatments have taken Angela’s hair away.\u003c/p>\n\u003cp>\u003cem>Young Love\u003c/em>‘s creator Matthew A. Cherry also wrote and co-directed \u003cem>Hair Love\u003c/em>, crafting both projects to celebrate and normalize Black hair and Black families.\u003c/p>\n\u003cp>In \u003cem>Young Love\u003c/em>, we see moments when they’re like any other family — Millennial parents struggling to balance work, home and an unexpected health scare. But they’re also steeped in Black culture, with a mom who works in a Black hair salon and a kid who dreams of sporting the coolest Afro puffs in town.\u003c/p>\n\u003cfigure id=\"attachment_13935210\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg\" alt=\"An illustration of a Black woman with her hands on a small Black girl's shoulders. They are reflected in an oval mirror.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae is Angela and Brooke Monroe Conaway is Zuri on ‘Young Love.’ \u003ccite>(Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TV series also has a different storytelling style than the film, which relied a lot on creative imagery and striking visuals to tell its story. \u003cem>Young Love\u003c/em> has slightly more sophisticated animation and a lot more dialogue, with a playful cleverness that centers the family in a caring community, even as they occasionally toss knowing wisecracks at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple yet entertaining and heartwarming formula. And at a time when so much TV is so cynical and depressing, it’s a pleasure to sink into a series that is smart, culturally on point and optimistic about the power of family to overcome all obstacles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=There%27s+a+lot+to+love+in+the+%27Hair+Love%27-inspired+TV+series+%27Young+Love%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I was strolling up a busy street in Austin, Texas recently, deep in thought about the changes there in the last few years. The city is gentrifying, dealing with a population boom and very much in flux. Still, the liberals, artists and weirdos hang on tight to the fringes. Austin and San Francisco, I thought, are starting to look more and more alike.\u003c/p>\n\u003cp>That was until a Planned Parenthood volunteer appeared on the horizon, clipboard in hand, and I realized that, for the very first time, I was casually wandering around a place where abortion is illegal. The thought was jarring: How could two places that seemed so similar have such wildly different healthcare policies?\u003c/p>\n\u003cp>[aside postid='arts_13915289']For most of us living in California — especially in the Bay Area — worrying about abortion access is still largely theoretical. For most of us, abortion certainly isn’t a daily preoccupation. But in the 26 states where abortion is now either banned or extremely restricted, no such oblivion exists — not for the tens of millions of women, transgender and nonbinary folks affected by the Dobbs decision, and not for the thousands of healthcare providers shackled by the ruling.\u003c/p>\n\u003cp>Now, two Bay Area doctors want to take us inside the daily realities of physicians around the country who are almost entirely immersed in post-Dobbs chaos. Dr. Emily Silverman — a doctor at SF General and an assistant professor of medicine at UCSF — and abortion provider Dr. Ali Block are dedicating Season 6 of their podcast \u003ca href=\"https://thenocturnists.com/post-roe-america-series\">\u003cem>The Nocturnists\u003c/em>\u003c/a> exclusively to the issue of abortion access in America. (The series usually tells a range of stories from the world of medicine.) Together, they visit the places where Dobbs has crushed choice, as well as those where abortion is still legal.\u003c/p>\n\u003cp>As physicians, Silverman and Block’s ability to convey the stresses on abortion providers is key to this seven-part series. On one side, the doctors in states with bans want only to do their jobs without risk of arrest and prison time. (“Oh my god,” one physician recalls thinking as a patient bled out from an unviable pregnancy. “I’m committing a felony \u003cem>and\u003c/em> she’s going to die.”) On the other side, the doctors in states where abortion is still legal are often working around the clock, knowing full well they’ll never be able to see all of the patients who need their assistance now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Nocturnists\u003c/em> is careful to also give props to the nurses and other medical staff trying to navigate the havoc left in Dobbs’ wake. Episode 3 takes us to \u003ca href=\"https://trustwomen.org/clinics/wichita/home\">Trust Women\u003c/a>, an abortion clinic in Wichita, Kansas, where Block sometimes works. There, two front desk employees are tasked with trying to field about 16,000 calls per day — two-thirds of which are from people in Texas trying to access abortion care as close to home as possible. The clinic typically sees between 30 and 60 patients a day — all of whom must pass an angry wall of protesters outside.\u003c/p>\n\u003cp>It is also these on-the-ground health workers’ stories that best impart the physical and emotional impacts of abortion bans and restrictions on the pregnant individuals that pass through their doors every day. Though always told in tones that are measured and resigned, the scenarios that many of them present are nothing short of heart-wrenching. Some veer headlong into the horrific.\u003c/p>\n\u003cp>[aside postid='arts_13923560']\u003cem>The Nocturnists:\u003c/em> \u003ci>Post-Roe America \u003c/i>is bleak but essential listening, then — especially for those of us who live in states where abortion is still legal. The podcast tears apart the notion that abortion access is guaranteed anywhere, noting that a federal ban is likely on the way. By the end of the series, you’ll feel compelled to act, to donate to the cause and to view reproductive healthcare professionals for what they really are — heroes.\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>Weekly\u003c/em> \u003cem>episodes of\u003c/em> ‘\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">\u003cem>The Nocturnists: \u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">Post-Roe America\u003c/a>’ begin on Sept. 21, 2023. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For most of us living in California — especially in the Bay Area — worrying about abortion access is still largely theoretical. For most of us, abortion certainly isn’t a daily preoccupation. But in the 26 states where abortion is now either banned or extremely restricted, no such oblivion exists — not for the tens of millions of women, transgender and nonbinary folks affected by the Dobbs decision, and not for the thousands of healthcare providers shackled by the ruling.\u003c/p>\n\u003cp>Now, two Bay Area doctors want to take us inside the daily realities of physicians around the country who are almost entirely immersed in post-Dobbs chaos. Dr. Emily Silverman — a doctor at SF General and an assistant professor of medicine at UCSF — and abortion provider Dr. Ali Block are dedicating Season 6 of their podcast \u003ca href=\"https://thenocturnists.com/post-roe-america-series\">\u003cem>The Nocturnists\u003c/em>\u003c/a> exclusively to the issue of abortion access in America. (The series usually tells a range of stories from the world of medicine.) Together, they visit the places where Dobbs has crushed choice, as well as those where abortion is still legal.\u003c/p>\n\u003cp>As physicians, Silverman and Block’s ability to convey the stresses on abortion providers is key to this seven-part series. On one side, the doctors in states with bans want only to do their jobs without risk of arrest and prison time. (“Oh my god,” one physician recalls thinking as a patient bled out from an unviable pregnancy. “I’m committing a felony \u003cem>and\u003c/em> she’s going to die.”) On the other side, the doctors in states where abortion is still legal are often working around the clock, knowing full well they’ll never be able to see all of the patients who need their assistance now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Nocturnists\u003c/em> is careful to also give props to the nurses and other medical staff trying to navigate the havoc left in Dobbs’ wake. Episode 3 takes us to \u003ca href=\"https://trustwomen.org/clinics/wichita/home\">Trust Women\u003c/a>, an abortion clinic in Wichita, Kansas, where Block sometimes works. There, two front desk employees are tasked with trying to field about 16,000 calls per day — two-thirds of which are from people in Texas trying to access abortion care as close to home as possible. The clinic typically sees between 30 and 60 patients a day — all of whom must pass an angry wall of protesters outside.\u003c/p>\n\u003cp>It is also these on-the-ground health workers’ stories that best impart the physical and emotional impacts of abortion bans and restrictions on the pregnant individuals that pass through their doors every day. Though always told in tones that are measured and resigned, the scenarios that many of them present are nothing short of heart-wrenching. Some veer headlong into the horrific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Nocturnists:\u003c/em> \u003ci>Post-Roe America \u003c/i>is bleak but essential listening, then — especially for those of us who live in states where abortion is still legal. The podcast tears apart the notion that abortion access is guaranteed anywhere, noting that a federal ban is likely on the way. By the end of the series, you’ll feel compelled to act, to donate to the cause and to view reproductive healthcare professionals for what they really are — heroes.\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>Weekly\u003c/em> \u003cem>episodes of\u003c/em> ‘\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">\u003cem>The Nocturnists: \u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://thenocturnists.com/post-roe-america-episodes/2023/09/21/ep1-the-day-roe-fell\">Post-Roe America\u003c/a>’ begin on Sept. 21, 2023. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New TV Shows Take on the Hazard of Working While Black",
"headTitle": "New TV Shows Take on the Hazard of Working While Black | KQED",
"content": "\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7gmYkNE0wYw\u003c/p>\n\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>[aside postid='arts_13933824']But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>[aside postid='arts_13934372']“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kClYnLkRR1Q\u003c/p>\n\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>[aside postid='arts_13934433']Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\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/7gmYkNE0wYw'\n title='//www.youtube.com/embed/7gmYkNE0wYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\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/kClYnLkRR1Q'\n title='//www.youtube.com/embed/kClYnLkRR1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dumb Money’ Goes All in on the GameStop Stock Frenzy — and May Come Out a Winner",
"headTitle": "‘Dumb Money’ Goes All in on the GameStop Stock Frenzy — and May Come Out a Winner | KQED",
"content": "\u003cp>Think of movies about the financial system and your mind is almost sure to go to Gordon Gekko and \u003cem>Wall Street\u003c/em> or Leonardo DiCaprio’s gyrating Jordan Belfort in \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>When Hollywood takes on Wall Street, it usually heads straight to the C-suite.\u003c/p>\n\u003cp>[aside postid='arts_13934544']The protagonist of \u003cem>Dumb Money\u003c/em>, though, is an amateur investor who trades out of his basement in Brockton, Massachusetts, with a bandana tied around his head and a Belgian beer in his hand.\u003c/p>\n\u003cp>This is Keith Gill (played in the film by Paul Dano), also known as Roaring Kitty. In 2021, Gill’s enthusiastic endorsement of GameStop stock helped fuel a viral trading frenzy that rocked Wall Street and humbled the hedge funds that had shorted the brick-and-mortar video game company.\u003c/p>\n\u003cp>Now, Sony Pictures is betting that a David vs. Goliath story that played out on Reddit message boards can be a big-screen attraction, too. Like any investment, it carries some degree of risk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em>, made for about $30 million, is charging into a still-fresh wound for some Wall Street power players; at least one executive portrayed in the film has reportedly threatened to sue.\u003c/p>\n\u003cp>The film, which opens in limited release Friday and expands in the next several weeks, will also have to sell itself without its colorful ensemble cast (including Pete Davidson, Seth Rogen, America Ferrara, Anthony Ramos and Shailene Woodley) due to the actors strike. And then there’s the inherent challenge of making a dramatic narrative out of a revolution that occurred mainly on computer screens and smartphones.\u003c/p>\n\u003cp>Yet Craig Gillespie, director of the Tonya Harding black comedy \u003cem>I, Tonya\u003c/em>, managed to corral a brash online movement into a remarkably rollicking and crowd-pleasing entertainment that’s already stoking some of the same energy that sent GameStop soaring. Ticket prices to the movie’s Toronto International Film Festival were driven past $900 on secondary seller websites.\u003c/p>\n\u003cp>“As much as it’s a really fun ride, ultimately I wanted to respect the frustration and the outrage that was happening,” says Gillespie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bmr8YmwnZ3w\u003c/p>\n\u003cp>There are many ironies surrounding \u003cem>Dumb Money\u003c/em>. It will play in AMC Theaters, which followed GameStop as a meme stock, pumping up its share price at a time when movie theaters were reeling from the pandemic.\u003c/p>\n\u003cp>“I think we should go to AMC Theaters and we should bring stuff from Bed Bath and Beyond and carry Blackberries,” says Ben Mezrich, author of the book the film’s adapted from, \u003cem>The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees\u003c/em>.\u003c/p>\n\u003cp>Mezrich, whose 2009 book about Mark Zuckerberg, \u003cem>The Accidental Billionaire\u003c/em>, served as fodder for David Fincher’s \u003cem>The Social Network\u003c/em>, immediately recognized the potential drama in the GameStop phenomenon. On the day the company’s stock surpassed $300 a share, he began plotting a book that could be adapted into a movie.\u003c/p>\n\u003cp>[aside postid='arts_13934519']“By the end of that day, I knew that this was something that I wanted to write and I could see it as a film,” says Mezrich. “That night, I wrote a 12-page proposal and treatment as both a movie and book idea. By the end of the week, we had a movie.”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> proceeded at a ripped-from-the-headlines pace — fast enough that most of those involved making it failed to invest, themselves. Gillespie was able to follow the phenomenon thanks to his 24-year-old son, who had been involved with the subreddit Wall Street Bets.\u003c/p>\n\u003cp>“I got to live it through him,” says Gillespie. “That was a huge touchstone for me in terms of the emotionality of the film. That frustration, that outrage, all those emotions that were happening through this. I actually got in too late, myself. My son warned me: You got in too late.”\u003c/p>\n\u003cp>Lauren Schuker Blum and Rebecca Angelo, two former Wall Street Journal reporters turned screenwriters, came on to write the script. For them it was a way to extend their interest in the power of internet populism — and they already had some experience turning digital-based stories into something human.\u003c/p>\n\u003cp>“We wrote a film about GamerGate a long time ago that didn’t get made,” says Blum. “The producer in that process was like, ‘Alright, let’s just go out and invent a new language of cinema.’ It has taken many years trying to figure out: How do you make a story like this cinematic?”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> seamlessly juggles a wide spectrum of characters who invest in GameStop for various reasons — a Pittsburgh single-mother nurse (Ferrera), a GameStop employee (Ramos), a pair of in-debt college students (Myha’la Herrold and Talia Ryder) — while breezily synthesizing the complicated economic context.\u003c/p>\n\u003cp>“We don’t need Margot Robbie in a bathtub explaining complex financial concepts,” says Angelo, referencing 2015’s \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>The meme-stuffed grammar of the film owes much to the frenetic, inundating experience of social media, but it also works as a surprisingly accurate portrait of the pandemic. You may be surprised how affectingly, and empoweringly, the film uses the then-ubiquitous TikToks of Megan Thee Stallion’s “Savage.”\u003c/p>\n\u003cp>“It was a time when people were feeling very small. They feel small, they feel powerless, they feel that the system is rigged,” says Angelo. “And this was an opportunity to feel big and find power in numbers.”\u003c/p>\n\u003cp>[aside postid='arts_13933589']Gill, himself, dropped out of the spotlight as fast he entered it. His last tweet from his “Roaring Kitty” account was posted in 2021, of sleeping kittens. His investments, originally about $50,000 (much of his young family’s savings) when GameStop was going for about $5 a share, at one point reached $48 million in value.\u003c/p>\n\u003cp>The filmmakers attempted to reach Gill but ultimately respected his privacy and had no direct contact with him. Gill has said little publicly since testifying before Congress in 2021. Lawmakers were then probing whether the rally had violated regulations of market manipulation.\u003c/p>\n\u003cp>Gill maintained that he advocated for GameStop “for educational purposes only, and that my aggressive style of investing was unlikely to be suitable for most folks.” He simply believed in the company.\u003c/p>\n\u003cp>“In short,” Gill said, “I like the stock.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dumb Money’ begins its national theatrical rollout on Sept. 15, 2023.\u003c/em> \u003cem>Check local listings. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The protagonist of \u003cem>Dumb Money\u003c/em>, though, is an amateur investor who trades out of his basement in Brockton, Massachusetts, with a bandana tied around his head and a Belgian beer in his hand.\u003c/p>\n\u003cp>This is Keith Gill (played in the film by Paul Dano), also known as Roaring Kitty. In 2021, Gill’s enthusiastic endorsement of GameStop stock helped fuel a viral trading frenzy that rocked Wall Street and humbled the hedge funds that had shorted the brick-and-mortar video game company.\u003c/p>\n\u003cp>Now, Sony Pictures is betting that a David vs. Goliath story that played out on Reddit message boards can be a big-screen attraction, too. Like any investment, it carries some degree of risk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em>, made for about $30 million, is charging into a still-fresh wound for some Wall Street power players; at least one executive portrayed in the film has reportedly threatened to sue.\u003c/p>\n\u003cp>The film, which opens in limited release Friday and expands in the next several weeks, will also have to sell itself without its colorful ensemble cast (including Pete Davidson, Seth Rogen, America Ferrara, Anthony Ramos and Shailene Woodley) due to the actors strike. And then there’s the inherent challenge of making a dramatic narrative out of a revolution that occurred mainly on computer screens and smartphones.\u003c/p>\n\u003cp>Yet Craig Gillespie, director of the Tonya Harding black comedy \u003cem>I, Tonya\u003c/em>, managed to corral a brash online movement into a remarkably rollicking and crowd-pleasing entertainment that’s already stoking some of the same energy that sent GameStop soaring. Ticket prices to the movie’s Toronto International Film Festival were driven past $900 on secondary seller websites.\u003c/p>\n\u003cp>“As much as it’s a really fun ride, ultimately I wanted to respect the frustration and the outrage that was happening,” says Gillespie.\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/bmr8YmwnZ3w'\n title='//www.youtube.com/embed/bmr8YmwnZ3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many ironies surrounding \u003cem>Dumb Money\u003c/em>. It will play in AMC Theaters, which followed GameStop as a meme stock, pumping up its share price at a time when movie theaters were reeling from the pandemic.\u003c/p>\n\u003cp>“I think we should go to AMC Theaters and we should bring stuff from Bed Bath and Beyond and carry Blackberries,” says Ben Mezrich, author of the book the film’s adapted from, \u003cem>The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees\u003c/em>.\u003c/p>\n\u003cp>Mezrich, whose 2009 book about Mark Zuckerberg, \u003cem>The Accidental Billionaire\u003c/em>, served as fodder for David Fincher’s \u003cem>The Social Network\u003c/em>, immediately recognized the potential drama in the GameStop phenomenon. On the day the company’s stock surpassed $300 a share, he began plotting a book that could be adapted into a movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“By the end of that day, I knew that this was something that I wanted to write and I could see it as a film,” says Mezrich. “That night, I wrote a 12-page proposal and treatment as both a movie and book idea. By the end of the week, we had a movie.”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> proceeded at a ripped-from-the-headlines pace — fast enough that most of those involved making it failed to invest, themselves. Gillespie was able to follow the phenomenon thanks to his 24-year-old son, who had been involved with the subreddit Wall Street Bets.\u003c/p>\n\u003cp>“I got to live it through him,” says Gillespie. “That was a huge touchstone for me in terms of the emotionality of the film. That frustration, that outrage, all those emotions that were happening through this. I actually got in too late, myself. My son warned me: You got in too late.”\u003c/p>\n\u003cp>Lauren Schuker Blum and Rebecca Angelo, two former Wall Street Journal reporters turned screenwriters, came on to write the script. For them it was a way to extend their interest in the power of internet populism — and they already had some experience turning digital-based stories into something human.\u003c/p>\n\u003cp>“We wrote a film about GamerGate a long time ago that didn’t get made,” says Blum. “The producer in that process was like, ‘Alright, let’s just go out and invent a new language of cinema.’ It has taken many years trying to figure out: How do you make a story like this cinematic?”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> seamlessly juggles a wide spectrum of characters who invest in GameStop for various reasons — a Pittsburgh single-mother nurse (Ferrera), a GameStop employee (Ramos), a pair of in-debt college students (Myha’la Herrold and Talia Ryder) — while breezily synthesizing the complicated economic context.\u003c/p>\n\u003cp>“We don’t need Margot Robbie in a bathtub explaining complex financial concepts,” says Angelo, referencing 2015’s \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>The meme-stuffed grammar of the film owes much to the frenetic, inundating experience of social media, but it also works as a surprisingly accurate portrait of the pandemic. You may be surprised how affectingly, and empoweringly, the film uses the then-ubiquitous TikToks of Megan Thee Stallion’s “Savage.”\u003c/p>\n\u003cp>“It was a time when people were feeling very small. They feel small, they feel powerless, they feel that the system is rigged,” says Angelo. “And this was an opportunity to feel big and find power in numbers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gill, himself, dropped out of the spotlight as fast he entered it. His last tweet from his “Roaring Kitty” account was posted in 2021, of sleeping kittens. His investments, originally about $50,000 (much of his young family’s savings) when GameStop was going for about $5 a share, at one point reached $48 million in value.\u003c/p>\n\u003cp>The filmmakers attempted to reach Gill but ultimately respected his privacy and had no direct contact with him. Gill has said little publicly since testifying before Congress in 2021. Lawmakers were then probing whether the rally had violated regulations of market manipulation.\u003c/p>\n\u003cp>Gill maintained that he advocated for GameStop “for educational purposes only, and that my aggressive style of investing was unlikely to be suitable for most folks.” He simply believed in the company.\u003c/p>\n\u003cp>“In short,” Gill said, “I like the stock.”\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dumb Money’ begins its national theatrical rollout on Sept. 15, 2023.\u003c/em> \u003cem>Check local listings. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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