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"content": "\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d3xdEGiypvc\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Od4i1OGStE\u003c/p>\n\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>[aside postid='arts_13931005']But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>[aside postid='arts_13930923']“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\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=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\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/d3xdEGiypvc'\n title='//www.youtube.com/embed/d3xdEGiypvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\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/4Od4i1OGStE'\n title='//www.youtube.com/embed/4Od4i1OGStE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\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=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’",
"headTitle": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’ | KQED",
"content": "\u003cp>The egos are as vast and thorny as the gardens on the lush estate of a prominent author in \u003cem>The Lesson\u003c/em>, an entertaining and erudite chamber piece about a master, a tutor and a family after loss.\u003c/p>\n\u003cp>[aside postid='arts_13931189']This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P0wnu-1_8-M\u003c/p>\n\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>[aside postid='arts_13930824']McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\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/P0wnu-1_8-M'\n title='//www.youtube.com/embed/P0wnu-1_8-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
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"content": "\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCtE8zur6CM\u003c/p>\n\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>[aside postid='arts_13930502']Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\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=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\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/UCtE8zur6CM'\n title='//www.youtube.com/embed/UCtE8zur6CM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\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=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
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"content": "\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/reel/CqRu31tD2nh\u003c/p>\n\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>[aside postid='futureofyou_202943']“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CptsxGHj52l\u003c/p>\n\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>[aside postid='arts_10134762']“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcBDDb2uv8_/\u003c/p>\n\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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=An+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dylan Mulvaney Says Bud Light Didn’t Support Her During Transphobic Backlash",
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"content": "\u003cp>Transgender influencer Dylan Mulvaney says she felt abandoned by Bud Light after facing “more bullying and transphobia than I could have ever imagined” over her partnership with the beer giant.\u003c/p>\n\u003cp>In a video posted Thursday to Instagram and \u003ca href=\"https://www.tiktok.com/@dylanmulvaney/video/7250155134087449898?lang=en\">TikTok\u003c/a>, she said she “was waiting for the brand to reach out to me. But they never did.” She said she should have spoken out sooner but was afraid and hoped things would get better — but they didn’t.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CuFQBdjRFFV/?hl=en\u003c/p>\n\u003cp>“For months now, I’ve been scared to leave my house,” Mulvaney said. “I have been ridiculed in public. I’ve been followed, and I have felt a loneliness that I wouldn’t wish on anyone.”\u003c/p>\n\u003cp>Anheuser-Busch didn’t directly respond to Mulvaney in a statement the company released Friday. But it said it remains “committed to the programs and partnerships we have forged over decades with organizations across a number of communities, including those in the LGBTQ+ community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/bud-light-beer-dylan-mulvaney-transgender-d489fb60d04ebd02486f80169cfc4474\">A deluge of criticism and hate\u003c/a> erupted soon after Mulvaney cracked open a Bud Light in an Instagram video on April 1 as part of a promotional contest for the beer brand. She showed off a can emblazoned with her face that Bud Light sent to her — one of many corporate freebies she gets and shares with her millions of followers.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Conservative figures and others called for a boycott of Bud Light, while Mulvaney’s supporters criticized the beer brand for not doing enough to support her.\u003c/p>\n\u003cp>Since then, two marketing executives at parent company Anheuser-Busch InBev took a leave of absence, Bud Light lost its decadeslong position as America’s best-selling beer.\u003c/p>\n\u003cp>In the four weeks ending June 17, Bud Light’s U.S. retail sales had slumped 26% compared with the same period a year ago, according to Bump Williams Consulting, which follows the industry. Sales of Modelo Especial, which recently supplanted Bud Light as the country’s best-selling beer in retail dollar sales, rose 9% in the same period. Modelo’s market share was 8.4%, while Bud Light’s was 7.1%.\u003c/p>\n\u003cp>The Human Rights Campaign, the country’s largest advocacy group for LGBTQ+ rights, also suspended its benchmark equality and inclusion rating for Anheuser-Busch, a subsidiary of Belgian brewer AB InBev.\u003c/p>\n\u003cp>“For a company to hire a trans person and then not publicly stand by them is worse, in my opinion, than not hiring a trans person at all — because it gives customers permission to be as transphobic and hateful as they want,” Mulvaney said, without naming Bud Light.\u003c/p>\n\u003cp>In its statement, Anheuser-Busch said it prioritizes the safety and privacy of its employees and partners and that moving forward, it will focus on brewing “beer for everyone and earning our place in moments that matter to our consumers.”\u003c/p>\n\u003cp>[aside postid='arts_13930083']Other companies, including Target and Starbucks, have recently come under fire for their efforts to appeal to the LGBTQ+ community, especially during June’s Pride celebrations, only to face more outcry when they tried to backpedal.\u003c/p>\n\u003cp>The clashes come amid a furious and fast-spreading debate over the rights of transgender people. At least 17 states have enacted laws restricting or banning gender-affirming care for minors, most since the start of this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/bud-light-beer-dylan-mulvaney-transgender-d489fb60d04ebd02486f80169cfc4474\">A deluge of criticism and hate\u003c/a> erupted soon after Mulvaney cracked open a Bud Light in an Instagram video on April 1 as part of a promotional contest for the beer brand. She showed off a can emblazoned with her face that Bud Light sent to her — one of many corporate freebies she gets and shares with her millions of followers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Conservative figures and others called for a boycott of Bud Light, while Mulvaney’s supporters criticized the beer brand for not doing enough to support her.\u003c/p>\n\u003cp>Since then, two marketing executives at parent company Anheuser-Busch InBev took a leave of absence, Bud Light lost its decadeslong position as America’s best-selling beer.\u003c/p>\n\u003cp>In the four weeks ending June 17, Bud Light’s U.S. retail sales had slumped 26% compared with the same period a year ago, according to Bump Williams Consulting, which follows the industry. Sales of Modelo Especial, which recently supplanted Bud Light as the country’s best-selling beer in retail dollar sales, rose 9% in the same period. Modelo’s market share was 8.4%, while Bud Light’s was 7.1%.\u003c/p>\n\u003cp>The Human Rights Campaign, the country’s largest advocacy group for LGBTQ+ rights, also suspended its benchmark equality and inclusion rating for Anheuser-Busch, a subsidiary of Belgian brewer AB InBev.\u003c/p>\n\u003cp>“For a company to hire a trans person and then not publicly stand by them is worse, in my opinion, than not hiring a trans person at all — because it gives customers permission to be as transphobic and hateful as they want,” Mulvaney said, without naming Bud Light.\u003c/p>\n\u003cp>In its statement, Anheuser-Busch said it prioritizes the safety and privacy of its employees and partners and that moving forward, it will focus on brewing “beer for everyone and earning our place in moments that matter to our consumers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other companies, including Target and Starbucks, have recently come under fire for their efforts to appeal to the LGBTQ+ community, especially during June’s Pride celebrations, only to face more outcry when they tried to backpedal.\u003c/p>\n\u003cp>The clashes come amid a furious and fast-spreading debate over the rights of transgender people. At least 17 states have enacted laws restricting or banning gender-affirming care for minors, most since the start of this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A slate of big-budget summer movies from \u003cem>Indiana Jones and the Dial of Destiny\u003c/em> to a live-action \u003cem>Barbie\u003c/em> film will be released in the coming weeks as Hollywood gears up for blockbuster season. But behind the scenes, as the Hollywood writers strike enters its third month, the impact of the current conflict between screenwriters and major film studios and streamers is coming into focus. Most productions have ground to a halt as future films and TV series are being delayed, if not canceled.\u003c/p>\n\u003cp>One of the most high-profile productions canceled by the strike is a \u003ca href=\"https://www.indiewire.com/news/breaking-news/sam-esmail-metropolis-series-scrapped-1234876313/\">new TV adaptation of Fritz Lang’s classic 1927 sci-fi film \u003cem>Metropolis\u003c/em>\u003c/a>. Apple TV+ reportedly scrapped acclaimed showrunner Sam Esmail’s years-in-the-making series just as it was supposed to begin filming this summer in Australia. Max’s new Batman spin-off series, \u003cem>The Penguin,\u003c/em> starring Colin Farrell, has also been halted, even through a teaser for the show had been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAPifwlWBP0\u003c/p>\n\u003cp>With many writers on the picket lines no longer participating in any scripting or revisions, many existing series are no longer filming. Shooting for the next season of the \u003cem>Yellowstone\u003c/em> prequel 1\u003cem>923\u003c/em> on Paramount+, starring Harrison Ford and Helen Mirren, has been suspended until the writers strike ends. Other popular shows that are not currently filming include future seasons of \u003cem>Severance\u003c/em>, \u003cem>Abbott Elementary\u003c/em>, \u003cem>Euphoria\u003c/em>, \u003cem>The Last of Us\u003c/em>, \u003cem>Cobra Kai\u003c/em> and the final season of Netflix’s \u003cem>Stranger Things\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/strangerwriters/status/1654955071631765506\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the delays aren’t all necessarily due to the strike. In recent months, studios and streamers have been consolidating and cutting costs through layoffs and cancelations. Some insiders speculate the studios may use the strike as an excuse to enact “force majeure,” contract clauses allowing them to cancel deals with creators and showrunners.\u003c/p>\n\u003cp>[aside postid='arts_13930931']It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>[aside postid='arts_13928702']The Emmy Awards, which are set to air on FOX in September, could be delayed for months. \u003ca href=\"https://www.nytimes.com/2023/06/21/business/media/emmy-awards-writers-strike.html?partner=slack&smid=sl-share\">Reports in \u003cem>The New York Times\u003c/em>\u003c/a>, \u003cem>The Hollywood Reporter\u003c/em> and other outlets suggest the organizers are discussing various contingency plans if the writers strike isn’t resolved this summer. Nominations are still scheduled to be announced Tuesday, July 12.\u003c/p>\n\u003cp>To manage the personal financial costs of a prolonged strike, many writers on the picket lines say they are relying on their fast-dwindling savings. Industry guilds, the Entertainment Community Fund, Women in Film and others have created emergency relief funds to support members.\u003c/p>\n\u003cp>https://twitter.com/jonhurwitz/status/1657094421396201473\u003c/p>\n\u003cp>The shutdowns are also impacting many others working behind the scenes on film crews, including cinematographers, editors, grips, costumers, caterers and truck drivers. According to Film LA, which handles permits for film shoots on city streets and other locations, there were only two scripted TV series shooting in Los Angeles this week. Normally at this time of year, there would be dozens of TV projects in production.\u003c/p>\n\u003cp>[aside postid='arts_13930083']The work stoppage affects many businesses that rely on the Hollywood economy, including restaurants, hotels and transportation. According to the Milken Institute, the 2008 writers strike, which lasted 100 days, cost the LA economy more than $2 billion in lost revenue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For audiences accustomed to a steady — and at times overflowing — stream of new films and TV series, this dramatic slowdown in productions will have a palpable impact in the year to come.\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=Not+coming+to+a+screen+near+you+%E2%80%93+viewers+will+soon+feel+effects+of+the+writers+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When producers of \u003cem>Wheel of Fortune\u003c/em> named Ryan Seacrest — probably the most ubiquitous man on entertainment television — as its next host this week, it surprised virtually no one.\u003c/p>\n\u003cp>[aside postid='arts_13907974']The idea that Sony Pictures Television would appoint someone relatively unknown as the figurehead of one of its most valuable properties was far-fetched. But it wasn’t always that way for a genre of television that minted such celebrities like late \u003cem>Jeopardy!\u003c/em> host Alex Trebek, Bob Barker of \u003cem>The Price is Right\u003c/em> and current \u003cem>Wheel of Fortune\u003c/em> emcee Pat Sajak.\u003c/p>\n\u003cp>With Sajak’s impending retirement, after the show’s next season, it’s the end of an era: Game shows are now the provenance of the already famous.\u003c/p>\n\u003ch2>Why is Pat Sajak the last of his breed?\u003c/h2>\n\u003cp>Back in 1984, a much younger Sajak was pictured on the cover of \u003cem>TV Guide\u003c/em> alongside Wink Martindale, Monty Hall, Bill Cullen, Jack Barry and Barker.\u003c/p>\n\u003cp>[aside postid='arts_3901062']Each of the other men was known primarily as broadcast television game show hosts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, so is Sajak. He has a handful of other entries on his resume, disc jockey (many of his ilk also got their start in radio) and television weatherman among them. But he was 35 years old when he started hosting \u003cem>Wheel of Fortune\u003c/em> and will be 77 when he leaves next year. He’ll be forever known for standing onstage at the wheel, with Vanna White at the board.\u003c/p>\n\u003cfigure id=\"attachment_13931006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png\" alt=\"An attractive blonde woman in a red dress and heels stands, hand on hip, next to a senior man wearing a suit. The ‘Wheel of Fortune’ logo is displayed on a screen behind them.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM.png 1374w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanna White, left, and Pat Sajak, host of ‘Wheel of Fortune.’ \u003ccite>(Carol Kaelson/CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s kind of the last of the old school,” said Adam Nedeff, author and researcher for the National Archive of Game Show History at the Strong National Museum of Play in Rochester, New York.\u003c/p>\n\u003cp>Game shows were once shown live, or taped with hardly any interruptions, so the skill of an experienced broadcaster used to those conditions was prized, Nedeff said. Dick Clark would need it when taping 10 episodes of \u003cem>The 10,000 Pyramid\u003c/em> in a day.\u003c/p>\n\u003cp>Trebek similarly had a strong pedigree of television hosting, much of it in Canada, before he became host of \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003ch2>Where’s the pipeline now?\u003c/h2>\n\u003cp>Game shows were once a mainstay of daytime broadcast television, the land of the unhip, but are much less common today. The Game Show Network and Buzzr exist on cable for aficionados, but are heavy on reruns of the classics.\u003c/p>\n\u003cp>And, let’s be honest, who watches, anyway? To create interest in game shows these days, producers look for a name. That makes actors, comics or other celebrities attractive to front these shows (some of which have nevertheless been canceled) — people like Drew Carey (\u003cem>The Price Is Right\u003c/em>), Howie Mandel (\u003cem>Deal or No Deal\u003c/em>), Meredith Vieira (\u003cem>Who Wants to be a Millionaire?\u003c/em>), Wayne Brady (\u003cem>Let’s Make a Deal\u003c/em>), Steve Harvey (\u003cem>Family Feud\u003c/em>), Alec Baldwin (\u003cem>Match Game\u003c/em>), Michael Strahan (\u003cem>The $100,000 Pyramid\u003c/em>) and Mayim Bialik (\u003cem>Jeopardy!\u003c/em>). Ken Jennings wasn’t an actor, but any fan of \u003cem>Jeopardy!\u003c/em> knew who he was.\u003c/p>\n\u003cfigure id=\"attachment_13931007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931007\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png\" alt=\"A woman and man sit opposite each other in red chairs in the middle of a game show set. A Black man in a suit leans in next to them.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM.png 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Strahan, left, with contestants on ‘The $100,000 Pyramid.’ \u003ccite>(Christopher Willard/ ABC via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have a generation of stars who grew up watching game shows,” Nedeff said. “We have just reached a point where nobody sees any shame in hosting a game show.”\u003c/p>\n\u003cp>No one considers a game show low-rent anymore.\u003c/p>\n\u003ch2>And why should they?\u003c/h2>\n\u003cp>Seriously. Trebek would tape two weeks’ worth of shows over two days. There’s only 52 weeks a year, and that didn’t count the show’s vacation periods, for a salary most of us couldn’t conceive of.\u003c/p>\n\u003cp>[aside postid='arts_13901062']Carey replaced Barker on \u003cem>The Price is Right\u003c/em> in 2007. Soon, many viewers will know him as a game show host instead of an actor and comedian, if they don’t already.\u003c/p>\n\u003ch2>Why would he leave?\u003c/h2>\n\u003cp>Such relatively easy money is why a job like \u003cem>Wheel of Fortune\u003c/em> is coveted; Whoopi Goldberg openly campaigned for the job. And it’s behind the request Jamie Foxx surprised his management with in the 2010s.\u003c/p>\n\u003cp>“Years ago, I was telling my agent, I said, ‘Man, you gotta get a game show,’” Foxx told \u003cem>The Associated Press\u003c/em> in 2019. He succeeded with \u003cem>Beat Shazam\u003c/em>, on the Fox network. Foxx got a payday, and Fox got a bankable star to entice viewers to a new game.\u003c/p>\n\u003cp>Several game shows air in prime time now. Even if networks offer a big check to a star like Foxx, it’s nothing like paying for the writers, directors and actors of a scripted series (to remind you, said writers are now on strike).\u003c/p>\n\u003cfigure id=\"attachment_13931008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png\" alt=\"A woman with glasses and long brown hair stands smiling next to an electronic board displaying the ‘Jeopardy!’ logo. She is wearing a yellow dress and beige suit jacket and clasping her hands together.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM.png 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayim Bialik hosting ‘Jeopardy!’ in 2022. \u003ccite>(Tyler Golden/ CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly enough, Seacrest’s career path resembles some of the old-time hosts. Merv Griffin, the legendary game show impresario, even offered him a job hosting a quiz game show for kids when Seacrest was only 23, Nedeff said. Seacrest has experience as a disc jockey, a talk show host, a New Year’s Eve concertmaster and as the longtime host of \u003cem>American Idol\u003c/em>, once television’s biggest sensation.\u003c/p>\n\u003cp>[aside postid='arts_13921866']Unlike many game show hosts of yesteryear, he’s already a celebrity in his own right. \u003cem>Wheel of Fortune\u003c/em> is an empire Sony needs to protect: not just a television show, but video games, a casino game, a live show and an online merchandise store complete with a \u003cem>Wheel\u003c/em> umbrella and silver tote bag.\u003c/p>\n\u003cp>Seacrest, to be sure, is highly unlikely to muck that up.\u003c/p>\n\u003cp>The 48-year-old’s reward is a job he can surely count on as long as he wants to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "“A generation of stars have just reached a point where nobody sees any shame in hosting a game show,” says author Adam Nedeff.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers of \u003cem>Wheel of Fortune\u003c/em> named Ryan Seacrest — probably the most ubiquitous man on entertainment television — as its next host this week, it surprised virtually no one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The idea that Sony Pictures Television would appoint someone relatively unknown as the figurehead of one of its most valuable properties was far-fetched. But it wasn’t always that way for a genre of television that minted such celebrities like late \u003cem>Jeopardy!\u003c/em> host Alex Trebek, Bob Barker of \u003cem>The Price is Right\u003c/em> and current \u003cem>Wheel of Fortune\u003c/em> emcee Pat Sajak.\u003c/p>\n\u003cp>With Sajak’s impending retirement, after the show’s next season, it’s the end of an era: Game shows are now the provenance of the already famous.\u003c/p>\n\u003ch2>Why is Pat Sajak the last of his breed?\u003c/h2>\n\u003cp>Back in 1984, a much younger Sajak was pictured on the cover of \u003cem>TV Guide\u003c/em> alongside Wink Martindale, Monty Hall, Bill Cullen, Jack Barry and Barker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each of the other men was known primarily as broadcast television game show hosts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, so is Sajak. He has a handful of other entries on his resume, disc jockey (many of his ilk also got their start in radio) and television weatherman among them. But he was 35 years old when he started hosting \u003cem>Wheel of Fortune\u003c/em> and will be 77 when he leaves next year. He’ll be forever known for standing onstage at the wheel, with Vanna White at the board.\u003c/p>\n\u003cfigure id=\"attachment_13931006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png\" alt=\"An attractive blonde woman in a red dress and heels stands, hand on hip, next to a senior man wearing a suit. The ‘Wheel of Fortune’ logo is displayed on a screen behind them.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM.png 1374w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanna White, left, and Pat Sajak, host of ‘Wheel of Fortune.’ \u003ccite>(Carol Kaelson/CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s kind of the last of the old school,” said Adam Nedeff, author and researcher for the National Archive of Game Show History at the Strong National Museum of Play in Rochester, New York.\u003c/p>\n\u003cp>Game shows were once shown live, or taped with hardly any interruptions, so the skill of an experienced broadcaster used to those conditions was prized, Nedeff said. Dick Clark would need it when taping 10 episodes of \u003cem>The 10,000 Pyramid\u003c/em> in a day.\u003c/p>\n\u003cp>Trebek similarly had a strong pedigree of television hosting, much of it in Canada, before he became host of \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003ch2>Where’s the pipeline now?\u003c/h2>\n\u003cp>Game shows were once a mainstay of daytime broadcast television, the land of the unhip, but are much less common today. The Game Show Network and Buzzr exist on cable for aficionados, but are heavy on reruns of the classics.\u003c/p>\n\u003cp>And, let’s be honest, who watches, anyway? To create interest in game shows these days, producers look for a name. That makes actors, comics or other celebrities attractive to front these shows (some of which have nevertheless been canceled) — people like Drew Carey (\u003cem>The Price Is Right\u003c/em>), Howie Mandel (\u003cem>Deal or No Deal\u003c/em>), Meredith Vieira (\u003cem>Who Wants to be a Millionaire?\u003c/em>), Wayne Brady (\u003cem>Let’s Make a Deal\u003c/em>), Steve Harvey (\u003cem>Family Feud\u003c/em>), Alec Baldwin (\u003cem>Match Game\u003c/em>), Michael Strahan (\u003cem>The $100,000 Pyramid\u003c/em>) and Mayim Bialik (\u003cem>Jeopardy!\u003c/em>). Ken Jennings wasn’t an actor, but any fan of \u003cem>Jeopardy!\u003c/em> knew who he was.\u003c/p>\n\u003cfigure id=\"attachment_13931007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931007\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png\" alt=\"A woman and man sit opposite each other in red chairs in the middle of a game show set. A Black man in a suit leans in next to them.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM.png 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Strahan, left, with contestants on ‘The $100,000 Pyramid.’ \u003ccite>(Christopher Willard/ ABC via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have a generation of stars who grew up watching game shows,” Nedeff said. “We have just reached a point where nobody sees any shame in hosting a game show.”\u003c/p>\n\u003cp>No one considers a game show low-rent anymore.\u003c/p>\n\u003ch2>And why should they?\u003c/h2>\n\u003cp>Seriously. Trebek would tape two weeks’ worth of shows over two days. There’s only 52 weeks a year, and that didn’t count the show’s vacation periods, for a salary most of us couldn’t conceive of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carey replaced Barker on \u003cem>The Price is Right\u003c/em> in 2007. Soon, many viewers will know him as a game show host instead of an actor and comedian, if they don’t already.\u003c/p>\n\u003ch2>Why would he leave?\u003c/h2>\n\u003cp>Such relatively easy money is why a job like \u003cem>Wheel of Fortune\u003c/em> is coveted; Whoopi Goldberg openly campaigned for the job. And it’s behind the request Jamie Foxx surprised his management with in the 2010s.\u003c/p>\n\u003cp>“Years ago, I was telling my agent, I said, ‘Man, you gotta get a game show,’” Foxx told \u003cem>The Associated Press\u003c/em> in 2019. He succeeded with \u003cem>Beat Shazam\u003c/em>, on the Fox network. Foxx got a payday, and Fox got a bankable star to entice viewers to a new game.\u003c/p>\n\u003cp>Several game shows air in prime time now. Even if networks offer a big check to a star like Foxx, it’s nothing like paying for the writers, directors and actors of a scripted series (to remind you, said writers are now on strike).\u003c/p>\n\u003cfigure id=\"attachment_13931008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png\" alt=\"A woman with glasses and long brown hair stands smiling next to an electronic board displaying the ‘Jeopardy!’ logo. She is wearing a yellow dress and beige suit jacket and clasping her hands together.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM.png 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayim Bialik hosting ‘Jeopardy!’ in 2022. \u003ccite>(Tyler Golden/ CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly enough, Seacrest’s career path resembles some of the old-time hosts. Merv Griffin, the legendary game show impresario, even offered him a job hosting a quiz game show for kids when Seacrest was only 23, Nedeff said. Seacrest has experience as a disc jockey, a talk show host, a New Year’s Eve concertmaster and as the longtime host of \u003cem>American Idol\u003c/em>, once television’s biggest sensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unlike many game show hosts of yesteryear, he’s already a celebrity in his own right. \u003cem>Wheel of Fortune\u003c/em> is an empire Sony needs to protect: not just a television show, but video games, a casino game, a live show and an online merchandise store complete with a \u003cem>Wheel\u003c/em> umbrella and silver tote bag.\u003c/p>\n\u003cp>Seacrest, to be sure, is highly unlikely to muck that up.\u003c/p>\n\u003cp>The 48-year-old’s reward is a job he can surely count on as long as he wants to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M",
"headTitle": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M | KQED",
"content": "\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yixG8pfncOs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>[aside postid='pop_50308']The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>[aside postid='pop_103268']The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\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=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\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/yixG8pfncOs'\n title='//www.youtube.com/embed/yixG8pfncOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\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=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’",
"headTitle": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’ | KQED",
"content": "\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>[aside postid='arts_13930807']Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQfMbSe7F2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>[aside postid='arts_13930502']This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>[aside postid='arts_13883486']I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\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>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQfMbSe7F2g'\n title='//www.youtube.com/embed/eQfMbSe7F2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\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>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After the BET Awards, a Look Back at How the Network Helped Hip-Hop Grow",
"headTitle": "After the BET Awards, a Look Back at How the Network Helped Hip-Hop Grow | KQED",
"content": "\u003cp>\u003cem>Rap City. 106 & Park\u003c/em>. And even, \u003cem>Uncut\u003c/em>.\u003c/p>\n\u003cp>From innovative to provocative, BET has played a crucial role in creating several influential programs that helped spread hip-hop to millions of homes across the globe. Other than its rival show \u003cem>Yo! MTV Raps\u003c/em>, the network known as Black Entertainment Television took up the mantle — despite some reluctance — to showcase a misunderstood rap culture decades before it became today’s most popular music genre.\u003c/p>\n\u003cp>[aside postid='arts_13929900']For many, BET became a safe place for those within hip-hop to express their artistry, although not without criticism. Through it all, the network has been a mainstay for established and emerging rap artists.\u003c/p>\n\u003cp>It all came together during the BET Awards on Sunday. Show officials celebrated the genre’s 50th anniversary during the telecast dubbed as a “non-stop Hip-Hop Party.” It also comes at a pivotal time for the network, which will be soon be sold. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen and rapper-entrepreneur Diddy, are interested in purchasing the network.\u003c/p>\n\u003cp>The new owner will acquire an important cultural fixture, one whose success was partially built on how it elevated hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13930909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg\" alt=\"An attractive middle-aged Black man smiles on a red carpet. He is wearing black-rimmed glasses and a tuxedo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Perry in 2022. The entrepreneur has expressed an interest in purchasing BET. \u003ccite>(Axelle/Bauer-Griffin/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“BET was a big platform for hip-hop and urban music overall,” said E-40. His song “Tired of Being Stepped On” with the rap group The Click appeared on BET’s \u003cem>Video Soul,\u003c/em> which was created in 1981 at a time when MTV refused to play videos by most African Americans. The rapper recalled how guest host Jamie Foxx dissed The Click’s song but the comedian’s critical words didn’t faze him. He felt his group gained important exposure to promote their “unorthodox” West Coast rap style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The network really stepped up. We needed that,” said E-40, who also made a few appearances on another BET show called \u003cem>Rap City\u003c/em>, which featured hip-hop music videos, interviews and freestyles booth sessions with big names including Jay-Z, Lil Wayne and MC Lyte. The show, which highlighted popular and up-and-coming rappers, became the longest-running hip-hop TV show in history.\u003cbr>\nE-40 credited BET founder Robert Johnson for giving hip-hop a chance. Johnson built the brand into the leading TV network for Black Americans in hopes of creating content geared toward jazz, comedy and gospel. But at the time, he and other founders were unsure about featuring a rap show, believing the genre would be short lived.\u003c/p>\n\u003cp>Rival MTV’s \u003cem>Yo! MTV Raps\u003c/em>, however, showed that hip-hop had staying power.\u003c/p>\n\u003cfigure id=\"attachment_13930910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg\" alt=\"A rapper performs on stage with a small crowd behind him. He wears a bucket hat, sunglasses and large gold medallion.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at the 2023 BET Awards in Los Angeles. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO.\u003c/p>\n\u003cp>“They rapidly embraced hip-hop as part of the mission of BET,” he said. “You went from BET having shows with no hip-hop artists or music to artists and music starting to trickle through shows to this full evolution of creating dedicated shows, celebrating hip-hop music, artists and culture.”\u003c/p>\n\u003cp>[aside postid='arts_13927349']BET’s decision to embrace hip-hop literally paid off: Johnson and his then-wife, Sheila, sold the network to Viacom in 2000 for $3 billion — which made them the nation’s first Black billionaires. He remained CEO until 2006.\u003c/p>\n\u003cp>After the sale, BET continued to beef up its content with reality shows and the network’s flagship program \u003cem>106 & Park\u003c/em>, a weekday show that started in 2000 and lasted for more than a decade. The show thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards then the BET Hip-Hop Awards.\u003c/p>\n\u003cp>For Lil Jon, he certainly benefitted from appearing on \u003cem>106 & Park\u003c/em>. One day, the rapper-producer joined the show’s audience during the time when he had a hard time getting music on BET.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9BeuGfuFIA8\u003c/p>\n\u003cp>Lil Jon had no clue \u003cem>106 & Park\u003c/em> co-host A.J. Calloway would notice him sitting in the crowd before he shouted out his name. The exposure helped him become more recognizable, particularly to the BET brass — who he says initially struggled to grasp the concept of his crunk music, which eventually gained mainstream appeal.\u003c/p>\n\u003cp>“We strived to be on \u003cem>Rap City.\u003c/em> We strived to be on \u003cem>106 & Park\u003c/em>,” Lil Jon said. “A.J. knew who I was, because he would go to the South and host things. He knew the power of my music … They would show me in the audience throughout the whole show. It was what they call an impression in the advertising world. It was a way for me to be around people at BET. They started to see and get familiar with me, and they wanted to look out for me. BET was just a place where we would get support from our community.”\u003c/p>\n\u003cp>[aside postid='arts_13929861']Like Lil Jon, other hip-hop artists took advantage of the exposure from BET — which often highlighted positive images of Black people through shows such as \u003cem>Teen Summit\u003c/em> and \u003cem>106 & Park\u003c/em>. But in the early-2000s, the network started to take an odd turn as several popular figures — from filmmaker Spike Lee to Public Enemy’s Chuck D — heavily criticized the channel’s content for depicting African Americans in a negative light.\u003c/p>\n\u003cp>Many took aim at the now-defunct \u003cem>BET: Uncut\u003c/em>, a late-night mature program that contained highly sexual content such as Ludacris’ “Booty Poppin” music video. The tipping point came after Nelly’s “Tip Drill” video featured women simulating sex acts with themselves while men grabbed their bodies.\u003c/p>\n\u003cp>\u003cem>Uncut\u003c/em> normally finished airing early Sunday just hours before the network’s faith-based programs began.\u003c/p>\n\u003cp>At the time, Big Boi of Outkast was taken aback by some of the raunchy content, calling it “distasteful” and “soft porn.” Other political figures and activists showed their displeasure. Co-founder Sheila Johnson even said in a 2010 interview that she was ashamed of BET, suggesting that no one, including her own children, should watch the channel.\u003c/p>\n\u003cp>After the backlash, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as \u003cem>Reed Between the Lines\u003c/em> and \u003cem>Let’s\u003c/em> \u003cem>Stay Together\u003c/em>.\u003c/p>\n\u003cp>“If you look at it, hip-hop is like a huge family,” said Roxanne Shante. “You’re going to have family members that do things that’s necessarily not my thing.”\u003c/p>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But who am I to criticize what they go through? It’s a form of expression,” said the “Roxanne’s Revenge” rapper. “I think BET has shown its ability to go with that form of expression. Now, people are expressing themselves in a different way. And now, they cater to a different audience and started to show different programming.”\u003c/p>\n\u003cp>[aside postid='arts_13925931']Despite controversy, Mills said a symbolic relationship was kept between BET and the hip-hop community. He said the network has a chance to break new artists through the BET Hip-Hop Awards while showcasing the more popular ones at the BET Awards. He shouted out veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards this year.\u003c/p>\n\u003cp>“When you look at artists today, they’re profoundly talented,” he said. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”\u003c/p>\n\u003cp>Mills said BET is exploring ways to bring back \u003cem>106 & Park\u003c/em> as a possible residency live show.\u003c/p>\n\u003cp>With a new buyer looking to purchase BET soon, the network’s future focus and how much it emphasizes hip-hop will be closely watched.\u003c/p>\n\u003cfigure id=\"attachment_13930912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg\" alt=\"A bald Black man stands on a red carpet wearing white pants and a polo jersey. He is clasping his hands together.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short arrives at the 2023 BET Awards in Los Angeles. \u003ccite>(Aaron J. Thornton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapper Too Short said BET should continue to serve the Black community’s needs.\u003c/p>\n\u003cp>“\u003cem>Teen Summit\u003c/em> was the best show ever,” he said. “Just for kids to sit there and have an intellectual conversation every Saturday morning. That was amazing to see Black kids thinking intelligently and debating with each other and an audience tapping in.\u003c/p>\n\u003cp>“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Rap City. 106 & Park\u003c/em>. And even, \u003cem>Uncut\u003c/em>.\u003c/p>\n\u003cp>From innovative to provocative, BET has played a crucial role in creating several influential programs that helped spread hip-hop to millions of homes across the globe. Other than its rival show \u003cem>Yo! MTV Raps\u003c/em>, the network known as Black Entertainment Television took up the mantle — despite some reluctance — to showcase a misunderstood rap culture decades before it became today’s most popular music genre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For many, BET became a safe place for those within hip-hop to express their artistry, although not without criticism. Through it all, the network has been a mainstay for established and emerging rap artists.\u003c/p>\n\u003cp>It all came together during the BET Awards on Sunday. Show officials celebrated the genre’s 50th anniversary during the telecast dubbed as a “non-stop Hip-Hop Party.” It also comes at a pivotal time for the network, which will be soon be sold. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen and rapper-entrepreneur Diddy, are interested in purchasing the network.\u003c/p>\n\u003cp>The new owner will acquire an important cultural fixture, one whose success was partially built on how it elevated hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13930909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg\" alt=\"An attractive middle-aged Black man smiles on a red carpet. He is wearing black-rimmed glasses and a tuxedo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Perry in 2022. The entrepreneur has expressed an interest in purchasing BET. \u003ccite>(Axelle/Bauer-Griffin/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“BET was a big platform for hip-hop and urban music overall,” said E-40. His song “Tired of Being Stepped On” with the rap group The Click appeared on BET’s \u003cem>Video Soul,\u003c/em> which was created in 1981 at a time when MTV refused to play videos by most African Americans. The rapper recalled how guest host Jamie Foxx dissed The Click’s song but the comedian’s critical words didn’t faze him. He felt his group gained important exposure to promote their “unorthodox” West Coast rap style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The network really stepped up. We needed that,” said E-40, who also made a few appearances on another BET show called \u003cem>Rap City\u003c/em>, which featured hip-hop music videos, interviews and freestyles booth sessions with big names including Jay-Z, Lil Wayne and MC Lyte. The show, which highlighted popular and up-and-coming rappers, became the longest-running hip-hop TV show in history.\u003cbr>\nE-40 credited BET founder Robert Johnson for giving hip-hop a chance. Johnson built the brand into the leading TV network for Black Americans in hopes of creating content geared toward jazz, comedy and gospel. But at the time, he and other founders were unsure about featuring a rap show, believing the genre would be short lived.\u003c/p>\n\u003cp>Rival MTV’s \u003cem>Yo! MTV Raps\u003c/em>, however, showed that hip-hop had staying power.\u003c/p>\n\u003cfigure id=\"attachment_13930910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg\" alt=\"A rapper performs on stage with a small crowd behind him. He wears a bucket hat, sunglasses and large gold medallion.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at the 2023 BET Awards in Los Angeles. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO.\u003c/p>\n\u003cp>“They rapidly embraced hip-hop as part of the mission of BET,” he said. “You went from BET having shows with no hip-hop artists or music to artists and music starting to trickle through shows to this full evolution of creating dedicated shows, celebrating hip-hop music, artists and culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>BET’s decision to embrace hip-hop literally paid off: Johnson and his then-wife, Sheila, sold the network to Viacom in 2000 for $3 billion — which made them the nation’s first Black billionaires. He remained CEO until 2006.\u003c/p>\n\u003cp>After the sale, BET continued to beef up its content with reality shows and the network’s flagship program \u003cem>106 & Park\u003c/em>, a weekday show that started in 2000 and lasted for more than a decade. The show thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards then the BET Hip-Hop Awards.\u003c/p>\n\u003cp>For Lil Jon, he certainly benefitted from appearing on \u003cem>106 & Park\u003c/em>. One day, the rapper-producer joined the show’s audience during the time when he had a hard time getting music on BET.\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/9BeuGfuFIA8'\n title='//www.youtube.com/embed/9BeuGfuFIA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lil Jon had no clue \u003cem>106 & Park\u003c/em> co-host A.J. Calloway would notice him sitting in the crowd before he shouted out his name. The exposure helped him become more recognizable, particularly to the BET brass — who he says initially struggled to grasp the concept of his crunk music, which eventually gained mainstream appeal.\u003c/p>\n\u003cp>“We strived to be on \u003cem>Rap City.\u003c/em> We strived to be on \u003cem>106 & Park\u003c/em>,” Lil Jon said. “A.J. knew who I was, because he would go to the South and host things. He knew the power of my music … They would show me in the audience throughout the whole show. It was what they call an impression in the advertising world. It was a way for me to be around people at BET. They started to see and get familiar with me, and they wanted to look out for me. BET was just a place where we would get support from our community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like Lil Jon, other hip-hop artists took advantage of the exposure from BET — which often highlighted positive images of Black people through shows such as \u003cem>Teen Summit\u003c/em> and \u003cem>106 & Park\u003c/em>. But in the early-2000s, the network started to take an odd turn as several popular figures — from filmmaker Spike Lee to Public Enemy’s Chuck D — heavily criticized the channel’s content for depicting African Americans in a negative light.\u003c/p>\n\u003cp>Many took aim at the now-defunct \u003cem>BET: Uncut\u003c/em>, a late-night mature program that contained highly sexual content such as Ludacris’ “Booty Poppin” music video. The tipping point came after Nelly’s “Tip Drill” video featured women simulating sex acts with themselves while men grabbed their bodies.\u003c/p>\n\u003cp>\u003cem>Uncut\u003c/em> normally finished airing early Sunday just hours before the network’s faith-based programs began.\u003c/p>\n\u003cp>At the time, Big Boi of Outkast was taken aback by some of the raunchy content, calling it “distasteful” and “soft porn.” Other political figures and activists showed their displeasure. Co-founder Sheila Johnson even said in a 2010 interview that she was ashamed of BET, suggesting that no one, including her own children, should watch the channel.\u003c/p>\n\u003cp>After the backlash, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as \u003cem>Reed Between the Lines\u003c/em> and \u003cem>Let’s\u003c/em> \u003cem>Stay Together\u003c/em>.\u003c/p>\n\u003cp>“If you look at it, hip-hop is like a huge family,” said Roxanne Shante. “You’re going to have family members that do things that’s necessarily not my thing.”\u003c/p>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But who am I to criticize what they go through? It’s a form of expression,” said the “Roxanne’s Revenge” rapper. “I think BET has shown its ability to go with that form of expression. Now, people are expressing themselves in a different way. And now, they cater to a different audience and started to show different programming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite controversy, Mills said a symbolic relationship was kept between BET and the hip-hop community. He said the network has a chance to break new artists through the BET Hip-Hop Awards while showcasing the more popular ones at the BET Awards. He shouted out veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards this year.\u003c/p>\n\u003cp>“When you look at artists today, they’re profoundly talented,” he said. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”\u003c/p>\n\u003cp>Mills said BET is exploring ways to bring back \u003cem>106 & Park\u003c/em> as a possible residency live show.\u003c/p>\n\u003cp>With a new buyer looking to purchase BET soon, the network’s future focus and how much it emphasizes hip-hop will be closely watched.\u003c/p>\n\u003cfigure id=\"attachment_13930912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg\" alt=\"A bald Black man stands on a red carpet wearing white pants and a polo jersey. He is clasping his hands together.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short arrives at the 2023 BET Awards in Los Angeles. \u003ccite>(Aaron J. Thornton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapper Too Short said BET should continue to serve the Black community’s needs.\u003c/p>\n\u003cp>“\u003cem>Teen Summit\u003c/em> was the best show ever,” he said. “Just for kids to sit there and have an intellectual conversation every Saturday morning. That was amazing to see Black kids thinking intelligently and debating with each other and an audience tapping in.\u003c/p>\n\u003cp>“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Bear' Deftly Turns the 'CORNER!' Into Season 2",
"headTitle": "‘The Bear’ Deftly Turns the ‘CORNER!’ Into Season 2 | KQED",
"content": "\u003cp>It’s hard to maintain the level of enthusiasm that critics and audiences worked up over \u003cem>The Bear \u003c/em>last summer. The impeccably made story of Carmy (Jeremy Allen White), who takes over the family beef-sandwich shop after the death of his brother, not only had people chanting “Yes, chef,” but it brought attention to the whole company — particularly White, Ayo Edebiri as Carmy’s new sous chef, and Ebon Moss-Bachrach as Carmy’s cousin Richie, who worked in the shop for years while Carmy was off training for fine dining.\u003c/p>\n\u003cp>The second season arrived this week, and the bottom line is that it avoids just about every pitfall that second seasons can encounter. It’s one of the most successful follow-ups I can remember to a first season that generated this much heat.\u003c/p>\n\u003cp>[aside postid='arts_13930637']\u003cem>The Bear \u003c/em>is still Carmy’s story at heart, but rather than intensify its focus on him (particularly in the wake of the perhaps unanticipated levels of pure erotic enthusiasm that White generated), Season 2 widens its attention to the ensemble even more than before. Sydney has her own stories, Richie has his — but so do the shop’s longtime cook Tina (Liza Colón-Zayas), pastry chef Marcus (Lionel Boyce), and Carmy’s sister Natalie (Abby Elliott). It would have been easy for creator Christopher Storer and the rest of the team to “yes, chef” their way through this set of 10 new episodes, focusing on fan service and flexing the muscles of a show with a lot of goodwill on its side.\u003c/p>\n\u003cp>But they don’t do that at all. Instead, there are experiments with what Kathryn VanArendonk at \u003cem>Vulture\u003c/em> \u003ca href=\"https://www.vulture.com/article/last-of-us-long-long-time-bottle-departure-episode.html\">has helpfully termed\u003c/a> “departure episodes,” where you get a chance to explore what’s going on with a sharp focus on particular characters outside the most common settings and rhythms of the show — here, one example would be an episode where Marcus goes off to improve his skills and works with a chef played by Will Poulter. There are others; I wouldn’t dare spoil them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5U-w1yL4r0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the things the show does this season that I suspect will be differently received in different corners is its deployment of unpublicized guest stars — which goes back to Season 1 and the fact that it wasn’t publicized ahead of time that Jon Bernthal would be playing Carmy’s late brother Mikey in flashbacks. \u003cem>The Bear \u003c/em>has become, for lack of a more exact term, a very cool show, and it’s able to nail down some pretty impressive guest stars, most of whom you should encounter on your own (don’t read any of the lists that are circulating; consider them true spoilers).\u003c/p>\n\u003cp>But these don’t feel show-offy, like mere “hey, look who we can get now” demonstrations. \u003cem>The Bear \u003c/em>does a very, very smart thing with guest stars, which is that it uses people with big, well-established personas and reputations to play characters who loom large in the minds of characters we already know.\u003c/p>\n\u003cp>[aside postid='arts_13930048']Think of, for instance, when Marlon Brando played Superman’s father in the Christopher Reeve \u003cem>Superman \u003c/em>movie. (Stay with me.) The character of Jor-El needs to be big, important, indelible, the kind of person who could potentially bestow a superhuman upon Earth. So no matter what you think of the long and fairly ponderous Krypton sequence, it makes perfect sense that it’s Marlon Brando. If it were just Some Actor, would it really work the same way? It’s a fiction that actors ever really disappear into roles (with very rare exceptions). They bring with them your sense of who they are, and they hit additional notes just by being accompanied by their own history. (See: \u003ca href=\"https://www.npr.org/2016/09/09/493150297/in-sully-a-pilots-heroic-water-landing-and-its-real-life-fallout\">casting Tom Hanks as “Sully” Sullenberger\u003c/a>, the hero pilot, which did half the work in establishing Sullenberger as an outsize good-doer.)\u003c/p>\n\u003cp>When you watch \u003cem>The Bear \u003c/em>and you watch these performances, ask yourself whether the effect would be the same if it were a character actor you didn’t recognize. Not because there’s anything lacking in the skills of character actors, who make enormous contributions to this season of \u003cem>The Bear\u003c/em>, the last season of \u003cem>The Bear\u003c/em>, and television generally. But with these particular characters, as you watch, think about what it accomplishes to cast a familiar face rather than one that asks the audience to start from scratch.\u003c/p>\n\u003cfigure id=\"attachment_13930861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png\" alt=\"A young Black woman with long braids pulled back looks concerned while talking to a man close to her. She is wearing a man's white shirt with a black T-shirt underneath.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This season also finds the right balance between sticking with what works and immediately pushing the story forward. At the end of last season, we saw that Carmy and Sydney intended to close The Beef and open a new restaurant called The Bear. This season is … well, I was about to say it’s the Build-The-Bear Workshop, but I wouldn’t do that to you. It is, however, the story of building something new, and the focus on the new place means the show retains some of The Beef’s high pressure and hard work, but moves those rhythms to a very different process — the process of creating a restaurant rather than running one.\u003c/p>\n\u003cp>In doing so, \u003cem>The Bear \u003c/em>dispenses with any fantasy that just because Carmy’s staff is talented and capable, they could instantly pivot from a sandwich shop to fine dining without any adjustments. It respects the fact that they would need to develop some different skills — some of the ones that Carmy brought with him last season before he learned to master sandwich-shop life from them. We’ve seen Carmy barge into Richie’s world; we now see what might happen if Richie were transported into Carmy’s world. It makes use of the same complex characters and the same deeply developed relationships, but it also shakes up the specifics enough that you’d never mistake a scene from this run of episodes for a scene from the last. It was before, and it remains now, a show about \u003cem>work\u003c/em>, one that is about training and not just natural genius. People are allowed to fail, sometimes more than once, because learning is not magic; it is repetition, attention and persistence.\u003c/p>\n\u003cfigure id=\"attachment_13930863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png\" alt=\"A white man wearing blue t-shirt and black apron stands in a kitchen and pours a green liquid from a blender into a saucepan. Next to him is a Black man wearing the same outfit, plus a black beanie. Both men are deep in concentration.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM.png 1286w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Poulter, left, as Luca, and Lionel Boyce as Marcus. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have quibbles here and there — for one, there is a new character who appears as a potential love interest for Carmy who is not as developed as the rest of the characters on the show, which is a regrettably common problem with Potential Love Interest characters. And more than anything, I dearly wish this show were being put out week by week rather than all at once, because it is a perfect candidate for a degree of molecular dissection that, as something dropping all at once, it probably won’t get simply because of the nature of an all-episodes release.\u003c/p>\n\u003cp>[aside postid='arts_13928702']At the same time, I watched all 10 episodes in one day, so how can I complain?\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 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=%27The+Bear%27+deftly+turns+the+%27CORNER%21%27+into+Season+2&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to maintain the level of enthusiasm that critics and audiences worked up over \u003cem>The Bear \u003c/em>last summer. The impeccably made story of Carmy (Jeremy Allen White), who takes over the family beef-sandwich shop after the death of his brother, not only had people chanting “Yes, chef,” but it brought attention to the whole company — particularly White, Ayo Edebiri as Carmy’s new sous chef, and Ebon Moss-Bachrach as Carmy’s cousin Richie, who worked in the shop for years while Carmy was off training for fine dining.\u003c/p>\n\u003cp>The second season arrived this week, and the bottom line is that it avoids just about every pitfall that second seasons can encounter. It’s one of the most successful follow-ups I can remember to a first season that generated this much heat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Bear \u003c/em>is still Carmy’s story at heart, but rather than intensify its focus on him (particularly in the wake of the perhaps unanticipated levels of pure erotic enthusiasm that White generated), Season 2 widens its attention to the ensemble even more than before. Sydney has her own stories, Richie has his — but so do the shop’s longtime cook Tina (Liza Colón-Zayas), pastry chef Marcus (Lionel Boyce), and Carmy’s sister Natalie (Abby Elliott). It would have been easy for creator Christopher Storer and the rest of the team to “yes, chef” their way through this set of 10 new episodes, focusing on fan service and flexing the muscles of a show with a lot of goodwill on its side.\u003c/p>\n\u003cp>But they don’t do that at all. Instead, there are experiments with what Kathryn VanArendonk at \u003cem>Vulture\u003c/em> \u003ca href=\"https://www.vulture.com/article/last-of-us-long-long-time-bottle-departure-episode.html\">has helpfully termed\u003c/a> “departure episodes,” where you get a chance to explore what’s going on with a sharp focus on particular characters outside the most common settings and rhythms of the show — here, one example would be an episode where Marcus goes off to improve his skills and works with a chef played by Will Poulter. There are others; I wouldn’t dare spoil them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i5U-w1yL4r0'\n title='//www.youtube.com/embed/i5U-w1yL4r0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things the show does this season that I suspect will be differently received in different corners is its deployment of unpublicized guest stars — which goes back to Season 1 and the fact that it wasn’t publicized ahead of time that Jon Bernthal would be playing Carmy’s late brother Mikey in flashbacks. \u003cem>The Bear \u003c/em>has become, for lack of a more exact term, a very cool show, and it’s able to nail down some pretty impressive guest stars, most of whom you should encounter on your own (don’t read any of the lists that are circulating; consider them true spoilers).\u003c/p>\n\u003cp>But these don’t feel show-offy, like mere “hey, look who we can get now” demonstrations. \u003cem>The Bear \u003c/em>does a very, very smart thing with guest stars, which is that it uses people with big, well-established personas and reputations to play characters who loom large in the minds of characters we already know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Think of, for instance, when Marlon Brando played Superman’s father in the Christopher Reeve \u003cem>Superman \u003c/em>movie. (Stay with me.) The character of Jor-El needs to be big, important, indelible, the kind of person who could potentially bestow a superhuman upon Earth. So no matter what you think of the long and fairly ponderous Krypton sequence, it makes perfect sense that it’s Marlon Brando. If it were just Some Actor, would it really work the same way? It’s a fiction that actors ever really disappear into roles (with very rare exceptions). They bring with them your sense of who they are, and they hit additional notes just by being accompanied by their own history. (See: \u003ca href=\"https://www.npr.org/2016/09/09/493150297/in-sully-a-pilots-heroic-water-landing-and-its-real-life-fallout\">casting Tom Hanks as “Sully” Sullenberger\u003c/a>, the hero pilot, which did half the work in establishing Sullenberger as an outsize good-doer.)\u003c/p>\n\u003cp>When you watch \u003cem>The Bear \u003c/em>and you watch these performances, ask yourself whether the effect would be the same if it were a character actor you didn’t recognize. Not because there’s anything lacking in the skills of character actors, who make enormous contributions to this season of \u003cem>The Bear\u003c/em>, the last season of \u003cem>The Bear\u003c/em>, and television generally. But with these particular characters, as you watch, think about what it accomplishes to cast a familiar face rather than one that asks the audience to start from scratch.\u003c/p>\n\u003cfigure id=\"attachment_13930861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png\" alt=\"A young Black woman with long braids pulled back looks concerned while talking to a man close to her. She is wearing a man's white shirt with a black T-shirt underneath.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This season also finds the right balance between sticking with what works and immediately pushing the story forward. At the end of last season, we saw that Carmy and Sydney intended to close The Beef and open a new restaurant called The Bear. This season is … well, I was about to say it’s the Build-The-Bear Workshop, but I wouldn’t do that to you. It is, however, the story of building something new, and the focus on the new place means the show retains some of The Beef’s high pressure and hard work, but moves those rhythms to a very different process — the process of creating a restaurant rather than running one.\u003c/p>\n\u003cp>In doing so, \u003cem>The Bear \u003c/em>dispenses with any fantasy that just because Carmy’s staff is talented and capable, they could instantly pivot from a sandwich shop to fine dining without any adjustments. It respects the fact that they would need to develop some different skills — some of the ones that Carmy brought with him last season before he learned to master sandwich-shop life from them. We’ve seen Carmy barge into Richie’s world; we now see what might happen if Richie were transported into Carmy’s world. It makes use of the same complex characters and the same deeply developed relationships, but it also shakes up the specifics enough that you’d never mistake a scene from this run of episodes for a scene from the last. It was before, and it remains now, a show about \u003cem>work\u003c/em>, one that is about training and not just natural genius. People are allowed to fail, sometimes more than once, because learning is not magic; it is repetition, attention and persistence.\u003c/p>\n\u003cfigure id=\"attachment_13930863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png\" alt=\"A white man wearing blue t-shirt and black apron stands in a kitchen and pours a green liquid from a blender into a saucepan. Next to him is a Black man wearing the same outfit, plus a black beanie. Both men are deep in concentration.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM.png 1286w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Poulter, left, as Luca, and Lionel Boyce as Marcus. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have quibbles here and there — for one, there is a new character who appears as a potential love interest for Carmy who is not as developed as the rest of the characters on the show, which is a regrettably common problem with Potential Love Interest characters. And more than anything, I dearly wish this show were being put out week by week rather than all at once, because it is a perfect candidate for a degree of molecular dissection that, as something dropping all at once, it probably won’t get simply because of the nature of an all-episodes release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, I watched all 10 episodes in one day, so how can I complain?\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 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=%27The+Bear%27+deftly+turns+the+%27CORNER%21%27+into+Season+2&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jennifer Lawrence’s New Raunchy Teen Comedy Is Better Than It Should Be",
"headTitle": "Jennifer Lawrence’s New Raunchy Teen Comedy Is Better Than It Should Be | KQED",
"content": "\u003cp>In a saner world, we would have already had a dozen Jennifer Lawrence comedies.\u003c/p>\n\u003cp>When aliens arrive they will surely go directly to IMDB to survey her filmography and wonder why one of Hollywood’s funniest and most naturally charismatic stars spent the first decade of her career in dystopias, action movies and \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">whatever it is you call \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">Mother!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13930502']As if to make up for lost time, Lawrence has in \u003cem>No Hard Feelings\u003c/em> made the kind of R-rated teen comedy that has usually launched young actors. She plays a 32-year-old Montauk Uber driver who, desperate for money after her car is towed, is hired by the wealthy parents (Matthew Broderick, Laura Benanti) of a timid and sheltered 19-year-old (newcomer Andrew Barth Feldman) to take his virginity before he heads off to Princeton.\u003c/p>\n\u003cp>We’ve, of course, had plenty of movies about teenagers trying to get laid for the first time. But \u003cem>No Hard Feelings\u003c/em>, directed and co-written by Gene Stupnitsky, may be the first in which the teen in question has seemingly no desire to do so. He’s heterosexual, his parents are sure based on his browsing history.\u003c/p>\n\u003cp>But when Maddie Barker (Lawrence) turns up in a tight pink dress and heels at the Long Island animal shelter Percy (Feldman) works at, he responds mostly with prickliness and fear to her come-ons. The encounter ends with Percy spraying Maddie with mace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, a 19-year-old rejecting Jennifer Lawrence like this is potentially a good way to sever any possible connection the audience has with one of your main characters. It’s like having him smack a child. Some things are unforgivable. Maddie and Percy go on a series of increasingly intimate dates, and Percy vows to eventually “put out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P15S6ND8kbQ\u003c/p>\n\u003cp>The basis of \u003cem>No Hard Feelings\u003c/em>, all around, is fairly untenable. Even less believable than Percy’s response to Maddie is her involvement in this scheme in the first place. In the movie’s opening scenes, her car is towed away by a ghosted ex-boyfriend (Ebon Moss-Bachrach of \u003cem>The Bear\u003c/em>). In the uber-rich environs of Montauk, Maddie is trying to hold onto her house — the one she grew up in — while foreclosure lurks.\u003c/p>\n\u003cp>[aside postid='arts_13930468']Maddie, forced to rollerblade to her bartending job, may be financially desperate. But, say what you will about the gig economy, it offers plenty of alternatives to earning money besides sleeping with teenagers who cringe when the restaurant doesn’t have Pepsi.\u003c/p>\n\u003cp>And yet, \u003cem>No Hard Feelings\u003c/em> works better than it ought to. The preposterousness of the set-up is, naturally, part of the joke. Feldman, who here resembles the awkward Linguini of \u003cem>Ratatouille\u003c/em> brought to life, brings more sensitivity to the role than you would expect, and flashes of good comic timing. So uncomfortable is he on their dates that at the sound of a break in a nearby game of pool, he jumps like a frightened cat. Skinny dipping in the ocean, he doggy paddles.\u003c/p>\n\u003cp>And while the role forces Lawrence into raunchy situations that could easily be said to be beneath her, \u003cem>No Hard Feelings\u003c/em> gives her plenty of room to showcase her talent at upending traditional ideas of Hollywood glamour. At every moment, she delights in undercutting her own sexiness; it’s not every A-lister who’s willing to film a beach brawl in the nude. Lawrence — Hollywood screenwriters take note — is more at home parodying the sex bomb than being one.\u003c/p>\n\u003cp>Yet while \u003cem>No Hard Feelings\u003c/em> finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy. Big-screen comedies are dishearteningly few and far between these days, so it’s temping to applaud that \u003cem>No Hard Feelings\u003c/em>, which opens in theaters Friday, simply exists.\u003c/p>\n\u003cp>[aside postid='arts_13930224']Stupnitsky’s \u003cem>Good Boys\u003c/em> cleverly shrunk a familiar genre — the house-party movie — into an R-rated romp for sixth-graders. But \u003cem>No Hard Feelings\u003c/em> can feel stuck in adolescence. There are times here where you’re glad Lawrence is at least getting to act with adults. (Natalie Morales and Scott MacArthur are good as Maddie’s friends.) Lawrence could have easily carried a comedy that’s just on Maddie’s level, without the amateur-escort-for-a-kid storyline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>No Hard Feelings\u003c/em> does, though, smartly dig into a generation gap in inverting the genre’s standard beats. Percy — and many of his classmates — are depicted as too tethered to their phones and too delicate to perceived offenses. In one scene, Maddie tears down the upstairs hall of a high-school party. Behind every door, there are kids not making out but calmly texting or playing video games — a portrait of Gen Z with plenty of basis in fact. Incredulous, Maddie exclaims: “Doesn’t anyone f–k anymore?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a saner world, we would have already had a dozen Jennifer Lawrence comedies.\u003c/p>\n\u003cp>When aliens arrive they will surely go directly to IMDB to survey her filmography and wonder why one of Hollywood’s funniest and most naturally charismatic stars spent the first decade of her career in dystopias, action movies and \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">whatever it is you call \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">Mother!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As if to make up for lost time, Lawrence has in \u003cem>No Hard Feelings\u003c/em> made the kind of R-rated teen comedy that has usually launched young actors. She plays a 32-year-old Montauk Uber driver who, desperate for money after her car is towed, is hired by the wealthy parents (Matthew Broderick, Laura Benanti) of a timid and sheltered 19-year-old (newcomer Andrew Barth Feldman) to take his virginity before he heads off to Princeton.\u003c/p>\n\u003cp>We’ve, of course, had plenty of movies about teenagers trying to get laid for the first time. But \u003cem>No Hard Feelings\u003c/em>, directed and co-written by Gene Stupnitsky, may be the first in which the teen in question has seemingly no desire to do so. He’s heterosexual, his parents are sure based on his browsing history.\u003c/p>\n\u003cp>But when Maddie Barker (Lawrence) turns up in a tight pink dress and heels at the Long Island animal shelter Percy (Feldman) works at, he responds mostly with prickliness and fear to her come-ons. The encounter ends with Percy spraying Maddie with mace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, a 19-year-old rejecting Jennifer Lawrence like this is potentially a good way to sever any possible connection the audience has with one of your main characters. It’s like having him smack a child. Some things are unforgivable. Maddie and Percy go on a series of increasingly intimate dates, and Percy vows to eventually “put out.”\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/P15S6ND8kbQ'\n title='//www.youtube.com/embed/P15S6ND8kbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The basis of \u003cem>No Hard Feelings\u003c/em>, all around, is fairly untenable. Even less believable than Percy’s response to Maddie is her involvement in this scheme in the first place. In the movie’s opening scenes, her car is towed away by a ghosted ex-boyfriend (Ebon Moss-Bachrach of \u003cem>The Bear\u003c/em>). In the uber-rich environs of Montauk, Maddie is trying to hold onto her house — the one she grew up in — while foreclosure lurks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maddie, forced to rollerblade to her bartending job, may be financially desperate. But, say what you will about the gig economy, it offers plenty of alternatives to earning money besides sleeping with teenagers who cringe when the restaurant doesn’t have Pepsi.\u003c/p>\n\u003cp>And yet, \u003cem>No Hard Feelings\u003c/em> works better than it ought to. The preposterousness of the set-up is, naturally, part of the joke. Feldman, who here resembles the awkward Linguini of \u003cem>Ratatouille\u003c/em> brought to life, brings more sensitivity to the role than you would expect, and flashes of good comic timing. So uncomfortable is he on their dates that at the sound of a break in a nearby game of pool, he jumps like a frightened cat. Skinny dipping in the ocean, he doggy paddles.\u003c/p>\n\u003cp>And while the role forces Lawrence into raunchy situations that could easily be said to be beneath her, \u003cem>No Hard Feelings\u003c/em> gives her plenty of room to showcase her talent at upending traditional ideas of Hollywood glamour. At every moment, she delights in undercutting her own sexiness; it’s not every A-lister who’s willing to film a beach brawl in the nude. Lawrence — Hollywood screenwriters take note — is more at home parodying the sex bomb than being one.\u003c/p>\n\u003cp>Yet while \u003cem>No Hard Feelings\u003c/em> finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy. Big-screen comedies are dishearteningly few and far between these days, so it’s temping to applaud that \u003cem>No Hard Feelings\u003c/em>, which opens in theaters Friday, simply exists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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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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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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