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"content": "\u003cfigure id=\"attachment_13930802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930802\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-22-at-12.09.19-PM-800x1017.png\" alt=\"An illustration of a young boy in a suit smiling and raising a wand in the air. He has a yellow rabbit on his head and a blue one at his feet. Next to him is a grey rabbit jumping out of a top hat that is resting on a pillar marked with an M.\" width=\"800\" height=\"1017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-22-at-12.09.19-PM-800x1017.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-22-at-12.09.19-PM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-22-at-12.09.19-PM-768x976.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-22-at-12.09.19-PM.png 936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for rare Maurice Sendak picture story ‘Ten Little Rabbits,’ originally a pamphlet for a 1970 museum fundraiser. \u003ccite>(HarperCollins Children's Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A rare Maurice Sendak picture story, originally a pamphlet for a 1970 museum fundraiser, will be coming out in book form next year.\u003c/p>\n\u003cp>HarperCollins Publishers announced Thursday that Sendak’s \u003cem>Ten Little Rabbits\u003c/em> is scheduled for Feb. 6. \u003cem>Ten Little Rabbits\u003c/em> is a “count-along picture book,” according to HarperCollins, about a boy magician named Mino and his magic hat. Sendak sketched out Mino and the hat in black and white, while filling in the rabbits in yellow and blue among other colors.\u003c/p>\n\u003cp>[aside postid='pop_5257']“Maurice’s black and white line drawings have a playfulness and charm that stand up to his glorious full-color artwork in a way that is uniquely their own,” Antonia Markiet, editorial director of HarperCollins Children’s Books, said in a statement.\u003c/p>\n\u003cp>Sendak conceived the pamphlet for the Philadelphia-based Rosenbach Museum, where he became a trustee in 1973 and later served as honorary president. For decades he left the artwork of such classics as \u003cem>Where the Wild Things Are\u003c/em> and \u003cem>In The Night Kitchen\u003c/em> at the museum, which returned his work to Sendak’s estate in 2014, two years after he died at age 83.\u003c/p>\n\u003cp>HarperCollins acquired the 32-page book from the not-for-profit Maurice Sendak Foundation. Sendak’s original pamphlet, just 3.5 x 2.5 inches, has been enlarged to 7 x 9 inches. Used editions of the original \u003cem>Ten Little Rabbits\u003c/em>, published by the museum, are available on the Internet for $50 and higher. The new release has a list price of $19.95.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Little Mino the Magician is able to conjure up magic with the wave of his wand, much like Maurice himself could with his pen. We are so pleased to bring this gem to a whole new generation of readers,” Lynn Caponera, president and treasurer of The Maurice Sendak Foundation, said in a statement.\u003c/p>\n\u003cp>Other posthumous Sendak releases, also published by HarperCollins, include \u003cem>My Brother’s Book\u003c/em> and \u003cem>Presto and Zesto in Limboland.\u003c/em>\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": "\u003cp>The Netflix anthology series \u003cem>Black Mirror\u003c/em> hasn’t presented any new episodes since 2019. But now it’s back, with a new season of five fresh episodes from writer-producer Charlie Brooker and company. They all premiered Thursday on Netflix — and I’ve seen them all. Which was a treat, because there haven’t been any new \u003cem>Black Mirror\u003c/em> episodes since before the pandemic — and even then, season five presented only three new episodes.\u003c/p>\n\u003cp>[aside postid='arts_13928545']I don’t mean to complain about either the infrequency or the relatively small portions dished out by this Netflix show — because \u003cem>Black Mirror\u003c/em> continues to be among the best anthology TV series ever made. Futuristic technology figures into many of the storylines, so it’s part science fiction. But it’s also wide-ranging enough to tap into other genres and styles. It’s part \u003cem>Outer Limits,\u003c/em> part \u003cem>Alfred Hitchcock Presents,\u003c/em> part\u003cem> Twilight Zone\u003c/em> — the classic one from Rod Serling, not the disappointing recent remake — and completely, delightfully entertaining.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5jY1ecibLYo\u003c/p>\n\u003cp>My challenge here is to convey how much I love this new sixth season of \u003cem>Black Mirror\u003c/em> without revealing any spoilers about the five individual installments. The show’s executive producers, Charlie Brooker and Annabel Jones, have crafted an environment in which, as with the best anthologies, anything can happen at any time. Characters don’t have to live, because they’re not coming back for a second episode, so any suspense is real, and earned. And Brooker, who wrote four of this season’s episodes and co-wrote the fifth, has doubled down on the unpredictability across the board. This year’s shows can begin with a comic tone but end darkly — or start off as one genre, and lurch unexpectedly into another. And without fail, they’re fun to watch, almost impossible to predict, and equally impossible to forget afterward.\u003c/p>\n\u003cp>[aside postid='arts_13930117']The first episode on this season’s Netflix list is titled “Joan Is Awful.” It stars Annie Murphy from \u003cem>Schitt’s Creek\u003c/em> as a woman named Joan, who is, well, awful. We see her cold-bloodedly firing an employee at work, betraying her boyfriend by reconnecting with an old flame, then returning to her boyfriend (Himesh Patel) for a quiet meal at home — which he’s lovingly prepared — before settling down on the couch to watch some TV together. But because this is \u003cem>Black Mirror,\u003c/em> the TV they’re watching is a streaming service that looks almost exactly like Netflix. Except it’s called “Streamberry,” and the title of one new offering on the scroll-down menu catches his eye. Once they hit play, this episode of \u003cem>Black Mirror\u003c/em> goes into unexpected territory — and a very wild, technologically topical ride.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another episode, “Demon 79,” is a weird one that’s all the more charming for being so offbeat. Anjana Vasan, from Peacock’s \u003cem>We Are Lady Parts,\u003c/em> plays a meek employee at a department store who’s visited by an apprentice demon — sort of like the flip side of Clarence the angel in \u003cem>It’s a Wonderful Life.\u003c/em> Only this demon has to persuade her to kill three people in as many days, or the world will end. She tries to run from him, but he keeps popping in wherever she goes to continue the conversation. Paapa Essiedu plays the fast-moving, faster-talking demon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From there, this episode, too, goes to places that are not at all easily predicted. Brooker co-wrote “Demon 79” with Bisha K. Ali, wrote all the others himself and each installment is gloriously different. “Mazey Day” is about paparazzi chasing an actress. “Loch Henry” — a title, if you look closely, actually included in the Streamberry program menu during “Joan Is Awful” — is about an old murder case in a small Scottish town. And “Beyond the Sea,” the most haunting of them all, stars Aaron Paul and Josh Hartnett as astronauts on a long, remote space mission. There’s not a dud in the bunch. “Joan Is Awful” and “Beyond the Sea” may be my favorites from this cycle — but I scarfed up and loved all five, and predict you will, too. When it comes to the imagination behind \u003cem>Black Mirror,\u003c/em> that’s about the only type of prediction that’s safe to make.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Netflix anthology series \u003cem>Black Mirror\u003c/em> hasn’t presented any new episodes since 2019. But now it’s back, with a new season of five fresh episodes from writer-producer Charlie Brooker and company. They all premiered Thursday on Netflix — and I’ve seen them all. Which was a treat, because there haven’t been any new \u003cem>Black Mirror\u003c/em> episodes since before the pandemic — and even then, season five presented only three new episodes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I don’t mean to complain about either the infrequency or the relatively small portions dished out by this Netflix show — because \u003cem>Black Mirror\u003c/em> continues to be among the best anthology TV series ever made. Futuristic technology figures into many of the storylines, so it’s part science fiction. But it’s also wide-ranging enough to tap into other genres and styles. It’s part \u003cem>Outer Limits,\u003c/em> part \u003cem>Alfred Hitchcock Presents,\u003c/em> part\u003cem> Twilight Zone\u003c/em> — the classic one from Rod Serling, not the disappointing recent remake — and completely, delightfully entertaining.\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/5jY1ecibLYo'\n title='//www.youtube.com/embed/5jY1ecibLYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My challenge here is to convey how much I love this new sixth season of \u003cem>Black Mirror\u003c/em> without revealing any spoilers about the five individual installments. The show’s executive producers, Charlie Brooker and Annabel Jones, have crafted an environment in which, as with the best anthologies, anything can happen at any time. Characters don’t have to live, because they’re not coming back for a second episode, so any suspense is real, and earned. And Brooker, who wrote four of this season’s episodes and co-wrote the fifth, has doubled down on the unpredictability across the board. This year’s shows can begin with a comic tone but end darkly — or start off as one genre, and lurch unexpectedly into another. And without fail, they’re fun to watch, almost impossible to predict, and equally impossible to forget afterward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first episode on this season’s Netflix list is titled “Joan Is Awful.” It stars Annie Murphy from \u003cem>Schitt’s Creek\u003c/em> as a woman named Joan, who is, well, awful. We see her cold-bloodedly firing an employee at work, betraying her boyfriend by reconnecting with an old flame, then returning to her boyfriend (Himesh Patel) for a quiet meal at home — which he’s lovingly prepared — before settling down on the couch to watch some TV together. But because this is \u003cem>Black Mirror,\u003c/em> the TV they’re watching is a streaming service that looks almost exactly like Netflix. Except it’s called “Streamberry,” and the title of one new offering on the scroll-down menu catches his eye. Once they hit play, this episode of \u003cem>Black Mirror\u003c/em> goes into unexpected territory — and a very wild, technologically topical ride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another episode, “Demon 79,” is a weird one that’s all the more charming for being so offbeat. Anjana Vasan, from Peacock’s \u003cem>We Are Lady Parts,\u003c/em> plays a meek employee at a department store who’s visited by an apprentice demon — sort of like the flip side of Clarence the angel in \u003cem>It’s a Wonderful Life.\u003c/em> Only this demon has to persuade her to kill three people in as many days, or the world will end. She tries to run from him, but he keeps popping in wherever she goes to continue the conversation. Paapa Essiedu plays the fast-moving, faster-talking demon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From there, this episode, too, goes to places that are not at all easily predicted. Brooker co-wrote “Demon 79” with Bisha K. Ali, wrote all the others himself and each installment is gloriously different. “Mazey Day” is about paparazzi chasing an actress. “Loch Henry” — a title, if you look closely, actually included in the Streamberry program menu during “Joan Is Awful” — is about an old murder case in a small Scottish town. And “Beyond the Sea,” the most haunting of them all, stars Aaron Paul and Josh Hartnett as astronauts on a long, remote space mission. There’s not a dud in the bunch. “Joan Is Awful” and “Beyond the Sea” may be my favorites from this cycle — but I scarfed up and loved all five, and predict you will, too. When it comes to the imagination behind \u003cem>Black Mirror,\u003c/em> that’s about the only type of prediction that’s safe to make.\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=5+new+%27Black+Mirror%27+episodes+have+dropped+%E2%80%94+and+there%27s+not+a+dud+in+the+bunch&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Misery, I tell you, it was misery having to choose just five from the incredible number of great mysteries and thrillers publishing in May and June.\u003c/p>\n\u003cp>In this batch below, you might travel from Europe to Africa to the Middle East to Russia and the United States — without leaving your hammock. I hope you are able to read them — and five (or 10 or 20) more.\u003c/p>\n\u003ch3>\u003cem>The Nigerwife\u003c/em> by Vanessa Walters\u003c/h3>\n\u003cp>[aside postid='arts_13929802']Walters sets her debut amid the glamorous people of Lagos, Nigeria. There “Nigerwife” (a foreign-born woman who marries a Nigerian man) Nicole Oruwari’s life seems as well tended as her hair and skin — until she’s kidnapped, and her Auntie Claudine must step in from England to find out why. Nicole and Claudine both have secrets that will wash up as surely as the tide, but only Claudine can choose whether or not hers will remain hidden. The snap-crackle-pop dialogue is a treat, as is Claudine herself, a dignified woman who never lets encounters with both a modernizing world and a country that confuses her get in the way of doing right by her family.\u003c/p>\n\u003ch3>\u003cem>Hope You Are Satisfied\u003c/em> by Tania Malik\u003c/h3>\n\u003cp>Malik (whose \u003cem>Three Bargains\u003c/em> got a starred \u003cem>Publishers Weekly\u003c/em> review) tells the story of guest workers in 1990 Dubai from the perspective of Riya, a young woman from India whose guide position with Discover Arabia Tours keeps her family back home afloat. Saddam Hussein has just invaded Kuwait, and no one knows what comes next, but even with disaster closing in, Riya and her friends have jobs to do and time to fill — and no chance of ever gaining citizenship in a city filled with money. A sketchy import/export magnate offers Riya the chance to make a killing, but the chance carries a lot of risk. As she processes the choice between tequila shots with her fellow young professionals, Riya begins to understand that the gap between them and the rich vacationers they cater to will never really close.\u003c/p>\n\u003ch3>\u003cem>Hidden Pictures \u003c/em>by Jason Rekulak\u003c/h3>\n\u003cp>[aside postid='arts_13929396']Mallory’s chance for a new and stable life post-rehab takes a sinister turn when Teddy, her 5-year-old charge, starts drawing creepy scenes of violence that seem to center on his family’s New Jersey house. Rekulak, who has won an Edgar for \u003cem>The Impossible Fortress\u003c/em>, works in the supernatural vein of Stephen King and Lauren Beukes, bringing readers close to Mallory’s search through Teddy’s sketches. If this were merely a ghost story it would be enough, especially with Teddy’s imaginary friend Anya in the mix, but Rekulak has the chops to push a bit deeper and make readers think about class distinctions and how they affect the people we believe about things we don’t understand.\u003c/p>\n\u003ch3>\u003cem>The Puzzle Master\u003c/em> by Danielle Trussoni\u003c/h3>\n\u003cp>Trussoni’s last novel, \u003cem>The Ancestor,\u003c/em> was wholly unexpected, a gothic horror story set in the remotest mountains of Italy. And her new novel, \u003cem>The Puzzle Master\u003c/em>, which starts in New York’s Hudson Valley (but ventures far afield), is also wholly unexpected, almost three books in one — but three books blended so seamlessly that readers won’t even notice the author’s sleight of hand in turning what seems to be a book about cryptography into a book about hunting down a priceless artifact into a book about monsters. I’ll stop there so as not to risk spoilers. Mike Brink’s post-traumatic-brain-injury Acquired Savant Syndrome expertise in deciphering codes and puzzles makes him a good choice to help a young woman named Jess who is in prison for murdering her boyfriend. He connects a drawing by Jess to an ancient mystery, and then all bets are off, and your summer beach read is a lock.\u003c/p>\n\u003ch3>\u003cem>The Dissident \u003c/em>by Paul Goldberg\u003c/h3>\n\u003cp>[aside postid='arts_13929225']Jewish refusenik Viktor Moroz and his wife Oksana would be living happily in Israel if only the 1976 Soviet Union would allow them to leave. Moroz gets his chance at an exit visa after he’s seen leaving the murder scene of a gay man and a CIA operative; the KGB tells him if he’ll go on trial for the crime, he’ll wind up deported because U. S. Secretary of State Henry Kissinger is about to make a visit to Moscow. Goldberg’s perspective on the realpolitik of his adolescence has plenty of mordant humor to carry readers through long discursive sections on almost everything related to his characters and their milieu; it’s the kind of book you’ll want to savor, and then will wind up finishing too soon. There’s no need to have it set in a near-future dystopia, because late-20th-century Russia actually was a dystopia populated by spies, samizdat publishers, secret police, and citizens so world weary it’s a wonder they can wait in line for a case of vodka.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\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=5+new+mysteries+and+thrillers+for+the+start+of+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Walters sets her debut amid the glamorous people of Lagos, Nigeria. There “Nigerwife” (a foreign-born woman who marries a Nigerian man) Nicole Oruwari’s life seems as well tended as her hair and skin — until she’s kidnapped, and her Auntie Claudine must step in from England to find out why. Nicole and Claudine both have secrets that will wash up as surely as the tide, but only Claudine can choose whether or not hers will remain hidden. The snap-crackle-pop dialogue is a treat, as is Claudine herself, a dignified woman who never lets encounters with both a modernizing world and a country that confuses her get in the way of doing right by her family.\u003c/p>\n\u003ch3>\u003cem>Hope You Are Satisfied\u003c/em> by Tania Malik\u003c/h3>\n\u003cp>Malik (whose \u003cem>Three Bargains\u003c/em> got a starred \u003cem>Publishers Weekly\u003c/em> review) tells the story of guest workers in 1990 Dubai from the perspective of Riya, a young woman from India whose guide position with Discover Arabia Tours keeps her family back home afloat. Saddam Hussein has just invaded Kuwait, and no one knows what comes next, but even with disaster closing in, Riya and her friends have jobs to do and time to fill — and no chance of ever gaining citizenship in a city filled with money. A sketchy import/export magnate offers Riya the chance to make a killing, but the chance carries a lot of risk. As she processes the choice between tequila shots with her fellow young professionals, Riya begins to understand that the gap between them and the rich vacationers they cater to will never really close.\u003c/p>\n\u003ch3>\u003cem>Hidden Pictures \u003c/em>by Jason Rekulak\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mallory’s chance for a new and stable life post-rehab takes a sinister turn when Teddy, her 5-year-old charge, starts drawing creepy scenes of violence that seem to center on his family’s New Jersey house. Rekulak, who has won an Edgar for \u003cem>The Impossible Fortress\u003c/em>, works in the supernatural vein of Stephen King and Lauren Beukes, bringing readers close to Mallory’s search through Teddy’s sketches. If this were merely a ghost story it would be enough, especially with Teddy’s imaginary friend Anya in the mix, but Rekulak has the chops to push a bit deeper and make readers think about class distinctions and how they affect the people we believe about things we don’t understand.\u003c/p>\n\u003ch3>\u003cem>The Puzzle Master\u003c/em> by Danielle Trussoni\u003c/h3>\n\u003cp>Trussoni’s last novel, \u003cem>The Ancestor,\u003c/em> was wholly unexpected, a gothic horror story set in the remotest mountains of Italy. And her new novel, \u003cem>The Puzzle Master\u003c/em>, which starts in New York’s Hudson Valley (but ventures far afield), is also wholly unexpected, almost three books in one — but three books blended so seamlessly that readers won’t even notice the author’s sleight of hand in turning what seems to be a book about cryptography into a book about hunting down a priceless artifact into a book about monsters. I’ll stop there so as not to risk spoilers. Mike Brink’s post-traumatic-brain-injury Acquired Savant Syndrome expertise in deciphering codes and puzzles makes him a good choice to help a young woman named Jess who is in prison for murdering her boyfriend. He connects a drawing by Jess to an ancient mystery, and then all bets are off, and your summer beach read is a lock.\u003c/p>\n\u003ch3>\u003cem>The Dissident \u003c/em>by Paul Goldberg\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’",
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"content": "\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>[aside postid='arts_13828289']In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gmmq7sVA0Jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>[aside postid='pop_11491']But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\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\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>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\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/Gmmq7sVA0Jo'\n title='//www.youtube.com/embed/Gmmq7sVA0Jo'\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>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\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\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>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Racist Horror Tropes Are the First to Die in the Slasher Comedy ‘The Blackening’",
"headTitle": "Racist Horror Tropes Are the First to Die in the Slasher Comedy ‘The Blackening’ | KQED",
"content": "\u003cp>When Keenen Ivory Wayans’ \u003cem>Scary Movie \u003c/em>became a huge hit more than 20 years ago, the trope about Black characters in slasher flicks — that they’re usually the first to die or rarely survive until the very end — was already decades old, and still going strong. \u003ca href=\"https://www.youtube.com/watch?v=1N6u4WeDggQ#t=01m32s\">One scene\u003c/a> in the spoof directly references \u003cem>Scream 2\u003c/em>, a movie released just three years earlier, where Jada Pinkett Smith’s character is \u003ca href=\"https://www.youtube.com/watch?v=2OehsddPh3Y&t=0s\">stabbed to death\u003c/a> in front of a movie theater audience before the opening credits have even rolled.\u003c/p>\n\u003cp>[aside postid='pop_6114']The DNA of \u003cem>Scary Movie \u003c/em>can be peeped in \u003cem>The Blackening\u003c/em>, a very funny new horror comedy directed by Tim Story. Like its cinematic ancestor, there’s also a direct reference to Pinkett Smith’s \u003cem>Scream 2 \u003c/em>character and plentiful jokes and gags poking fun at unique aspects of Black culture. Yet much has changed over the last few years as Black creators have found more opportunities and mainstream success exploring Blackness through a horror lens. Black characters are all over this genre now, even triumphing over the bodily threats they face from their horrific predators. \u003cem>The Blackening\u003c/em> acknowledges this and thus poses an apt and ingenious question as its premise: What happens when every main character in the slasher flick is Black?\u003c/p>\n\u003cp>A group of friends comes together for a Juneteenth weekend getaway in a cabin in the woods, bringing with them years’ worth of camaraderie and, in some cases, unresolved tensions stretching back to their college days. Lisa (Antoinette Robertson) and Nnamdi (Sinqua Walls) are exes secretly hooking up again — much to the chagrin of Lisa’s gay best friend Dewayne (Dewayne Perkins, also a co-writer of the screenplay), who can’t forgive Nnamdi for treating her terribly when they were dating.\u003c/p>\n\u003cp>[aside postid='arts_13921951']Allison (Grace Byers) is the biracial friend of the group who seems to have (white) daddy issues; Shanika (X Mayo) is the flamboyant lush; King (Melvin Gregg) has a shady past but appears to have settled comfortably down into Buppie life; and Clifton (Jermaine Fowler) is the nerdy, socially awkward Trump supporter and outsider who nobody else really vibes with.\u003c/p>\n\u003cp>They pop some party drugs and get in maybe half of a game of Spades before things start going sideways. The power goes out, and they stumble upon the house’s game room, which features The Blackening, a trivia board game with the terrifying image of a Sambo as its centerpiece. (“Jim Crow Monopoly!” cracks one of the characters.) Suddenly, a creepy masked figure appears on an old black-and-white TV, warning them that if they refuse to play the game, their other friend Morgan (Yvonne Orji) — who arrived a day early and is now being held hostage in an undisclosed part of the house — will die.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=moiRCJR4ToY\u003c/p>\n\u003cp>It’s a simple enough setup that’s based on a \u003ca href=\"https://www.youtube.com/watch?v=QOPwQdDu-D8\">sketch\u003c/a> from Perkins’ improv comedy group 3Peat — and there’s a version of \u003cem>The Blackening \u003c/em>that could easily have suffered from the problem of there not being enough \u003cem>there there\u003c/em> to sustain a feature-length film, like so many insufferable SNL skits-turned-movies. But in adapting it for the big screen, Perkins and co-writer Tracy Oliver (\u003cem>Girls Trip\u003c/em>) manage the tricky balancing act of keeping the laughs flowing steadily \u003cem>and \u003c/em>crafting a believable narrative arc.\u003c/p>\n\u003cp>[aside postid='arts_13923159']In a breezy 90 minutes, the crew’s dynamic is clearly established and challenged as grudges are resurfaced, crossbows get flung, and bodies start dropping. The delight is derived from the highly specific comedic details, which consistently manage to take well-worn observations about Black culture — a fraught relationship with the TV show \u003cem>Friends\u003c/em> and how certain signifiers might mark some people as “Blacker” than others, for starters — and stretch them in a myriad of unexpected directions. The ensemble gels well together, settling into a comfortable pattern that reflects the rat-a-tat flow of a viral, meme-filled thread that hasn’t yet drifted from the insular space of Black Twitter and into the wider internet world. (The oft-repeated, melodic inflection that’s deployed every time a character colloquially uses the N-word is itself a thing of comic beauty.)\u003c/p>\n\u003cp>Most refreshing is that these characters are far and away among the smartest would-be victims of a deranged movie stalker. That doesn’t mean less-than-ideal choices aren’t made sometimes or that everyone makes it out alive — you can place your bets ahead of time if you’d like — but it seems safe to say many Black viewers have yelled at the screen for the preposterous decisions made in countless movies like this one. \u003cem>The Blackening\u003c/em> will be a different experience. When Dewayne carefully and nervously shut a door that was mysteriously flung open, I felt proud — no one in their right mind is going to willingly peek out to see what’s going on outside while staying in a cabin in the woods at night. Nope, we’re good on that.\u003c/p>\n\u003cfigure id=\"attachment_13930471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg\" alt=\"Four Black men and three Black women gather together, all watching something unseen with stunned expressions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melvin Gregg as King, Grace Byers as Allison, Antoinette Robertson as Lisa, Sinqua Walls as Nnamdi, Jermaine Fowler as Clifton, Dewayne Perkins as Dewayne, and Xochitl Mayo as Shanika in ‘The Blackening.’ \u003ccite>(Glen Wilson/ Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>There’s a twist that feels at least partially indebted to the spirit of \u003cem>Get Out\u003c/em> in that it digs a bit deeper on a sociocultural level than most spoofs ever aspire to. (Consider this the urbane, Hillman grad play-cousin to the \u003cem>Scary Movie\u003c/em> franchise’s juvenile middle schooler.) It works while maintaining the film’s edge and silliness until the very end. \u003cem>The Blackening \u003c/em>meets the moment, and it doesn’t feel like a spoiler to say that it boldly imagines a world too few horror movies dared to depict for years — one where Blackness survives and triumphs.\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=Racist+horror+tropes+are+the+first+to+die+in+the+slasher+comedy+%27The+Blackening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Keenen Ivory Wayans’ \u003cem>Scary Movie \u003c/em>became a huge hit more than 20 years ago, the trope about Black characters in slasher flicks — that they’re usually the first to die or rarely survive until the very end — was already decades old, and still going strong. \u003ca href=\"https://www.youtube.com/watch?v=1N6u4WeDggQ#t=01m32s\">One scene\u003c/a> in the spoof directly references \u003cem>Scream 2\u003c/em>, a movie released just three years earlier, where Jada Pinkett Smith’s character is \u003ca href=\"https://www.youtube.com/watch?v=2OehsddPh3Y&t=0s\">stabbed to death\u003c/a> in front of a movie theater audience before the opening credits have even rolled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The DNA of \u003cem>Scary Movie \u003c/em>can be peeped in \u003cem>The Blackening\u003c/em>, a very funny new horror comedy directed by Tim Story. Like its cinematic ancestor, there’s also a direct reference to Pinkett Smith’s \u003cem>Scream 2 \u003c/em>character and plentiful jokes and gags poking fun at unique aspects of Black culture. Yet much has changed over the last few years as Black creators have found more opportunities and mainstream success exploring Blackness through a horror lens. Black characters are all over this genre now, even triumphing over the bodily threats they face from their horrific predators. \u003cem>The Blackening\u003c/em> acknowledges this and thus poses an apt and ingenious question as its premise: What happens when every main character in the slasher flick is Black?\u003c/p>\n\u003cp>A group of friends comes together for a Juneteenth weekend getaway in a cabin in the woods, bringing with them years’ worth of camaraderie and, in some cases, unresolved tensions stretching back to their college days. Lisa (Antoinette Robertson) and Nnamdi (Sinqua Walls) are exes secretly hooking up again — much to the chagrin of Lisa’s gay best friend Dewayne (Dewayne Perkins, also a co-writer of the screenplay), who can’t forgive Nnamdi for treating her terribly when they were dating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Allison (Grace Byers) is the biracial friend of the group who seems to have (white) daddy issues; Shanika (X Mayo) is the flamboyant lush; King (Melvin Gregg) has a shady past but appears to have settled comfortably down into Buppie life; and Clifton (Jermaine Fowler) is the nerdy, socially awkward Trump supporter and outsider who nobody else really vibes with.\u003c/p>\n\u003cp>They pop some party drugs and get in maybe half of a game of Spades before things start going sideways. The power goes out, and they stumble upon the house’s game room, which features The Blackening, a trivia board game with the terrifying image of a Sambo as its centerpiece. (“Jim Crow Monopoly!” cracks one of the characters.) Suddenly, a creepy masked figure appears on an old black-and-white TV, warning them that if they refuse to play the game, their other friend Morgan (Yvonne Orji) — who arrived a day early and is now being held hostage in an undisclosed part of the house — will die.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/moiRCJR4ToY'\n title='//www.youtube.com/embed/moiRCJR4ToY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a simple enough setup that’s based on a \u003ca href=\"https://www.youtube.com/watch?v=QOPwQdDu-D8\">sketch\u003c/a> from Perkins’ improv comedy group 3Peat — and there’s a version of \u003cem>The Blackening \u003c/em>that could easily have suffered from the problem of there not being enough \u003cem>there there\u003c/em> to sustain a feature-length film, like so many insufferable SNL skits-turned-movies. But in adapting it for the big screen, Perkins and co-writer Tracy Oliver (\u003cem>Girls Trip\u003c/em>) manage the tricky balancing act of keeping the laughs flowing steadily \u003cem>and \u003c/em>crafting a believable narrative arc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a breezy 90 minutes, the crew’s dynamic is clearly established and challenged as grudges are resurfaced, crossbows get flung, and bodies start dropping. The delight is derived from the highly specific comedic details, which consistently manage to take well-worn observations about Black culture — a fraught relationship with the TV show \u003cem>Friends\u003c/em> and how certain signifiers might mark some people as “Blacker” than others, for starters — and stretch them in a myriad of unexpected directions. The ensemble gels well together, settling into a comfortable pattern that reflects the rat-a-tat flow of a viral, meme-filled thread that hasn’t yet drifted from the insular space of Black Twitter and into the wider internet world. (The oft-repeated, melodic inflection that’s deployed every time a character colloquially uses the N-word is itself a thing of comic beauty.)\u003c/p>\n\u003cp>Most refreshing is that these characters are far and away among the smartest would-be victims of a deranged movie stalker. That doesn’t mean less-than-ideal choices aren’t made sometimes or that everyone makes it out alive — you can place your bets ahead of time if you’d like — but it seems safe to say many Black viewers have yelled at the screen for the preposterous decisions made in countless movies like this one. \u003cem>The Blackening\u003c/em> will be a different experience. When Dewayne carefully and nervously shut a door that was mysteriously flung open, I felt proud — no one in their right mind is going to willingly peek out to see what’s going on outside while staying in a cabin in the woods at night. Nope, we’re good on that.\u003c/p>\n\u003cfigure id=\"attachment_13930471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg\" alt=\"Four Black men and three Black women gather together, all watching something unseen with stunned expressions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melvin Gregg as King, Grace Byers as Allison, Antoinette Robertson as Lisa, Sinqua Walls as Nnamdi, Jermaine Fowler as Clifton, Dewayne Perkins as Dewayne, and Xochitl Mayo as Shanika in ‘The Blackening.’ \u003ccite>(Glen Wilson/ Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>There’s a twist that feels at least partially indebted to the spirit of \u003cem>Get Out\u003c/em> in that it digs a bit deeper on a sociocultural level than most spoofs ever aspire to. (Consider this the urbane, Hillman grad play-cousin to the \u003cem>Scary Movie\u003c/em> franchise’s juvenile middle schooler.) It works while maintaining the film’s edge and silliness until the very end. \u003cem>The Blackening \u003c/em>meets the moment, and it doesn’t feel like a spoiler to say that it boldly imagines a world too few horror movies dared to depict for years — one where Blackness survives and triumphs.\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=Racist+horror+tropes+are+the+first+to+die+in+the+slasher+comedy+%27The+Blackening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death",
"headTitle": "Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death | KQED",
"content": "\u003cp>The national tour of Broadway’s \u003cem>Tina — The Tina Turner Musical\u003c/em> makes its California debut this week, arriving as a poignant, \u003ca href=\"https://www.kqed.org/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83\">posthumous celebration\u003c/a> following the rock music icon’s death last month.\u003c/p>\n\u003cp>[aside postid='arts_13929587']\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>[aside postid='arts_13897052']The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>[aside postid='arts_13894392']“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\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>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\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>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Janelle Monáe Wants You ... to Enter the ‘Pleasure’ Zone",
"headTitle": "Janelle Monáe Wants You … to Enter the ‘Pleasure’ Zone | KQED",
"content": "\u003cp>In the already uncomfortably hot summer of 2023, talk of pleasure can hit like a forbidden tonic, providing relief from a steady diet of grief, outrage and anxiety. Janelle Monáe’s new album \u003cem>The Age of Pleasure\u003c/em> presents itself as both that stimulant and a guidebook, a compact compendium of fantasies and pep talks designed to encourage listeners to relax into the dopamine-rushed present tense.\u003c/p>\n\u003cp>“If I could f*** me right here right now I would do that,” the singer-actor-conceptualist turned libertine lifestyle coach sings in “Water Slide,” a reggaefied mid-record romp that plays with swimming metaphors — \u003cem>backstroke, freestyle, surfing on the thing like it’s high tide \u003c/em>— to invoke a tipsy kind of arousal that lingers delightfully, requiring no release. A floating feeling, like being drawn into a swimming pool’s lazy river. Or like getting intimate without an end goal in mind, in a safe space with someone you love. “I could spend the whole day in it,” Monáe swoons, and by “it” she means pleasure itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ag7Ul4U_dSI\u003c/p>\n\u003cp>In Monáe’s world pleasure means some obvious things — material comfort, self-love, carefully maintained ties with intimates and an open-ended approach to alluring strangers. Musically, these values find expression in a certain cadence, that \u003cem>clavé \u003c/em>groove that unfolds the way sexual excitement does, slowing time down and speeding it up all at once. Monáe and her collaborators in the Wondaland Arts Society ground \u003cem>The Age of Pleasure\u003c/em> in the complex yet accessible rhythms of \u003ca href=\"https://www.rollingstone.com/music/music-features/afrobeats-global-rise-1282575/\">Afrobeats\u003c/a> (some prefer Afropop), the diasporic dance music that shares sonic borders with global Latin pop and Caribbean riddims.\u003c/p>\n\u003cp>[aside postid='arts_13929970']Afrobeats is the ground of much current mainstream pop, recasting hip-hop on the global stage in ways that are both historically minded — the presence of Nigerian scion\u003ca href=\"https://www.seunkuti.net/\"> Seun Kuti \u003c/a>and Egypt 80 on this album accomplish that goal — and \u003cem>au courant\u003c/em>. Monáe queers the trend with lyrics that celebrate same-sex encounters and polyamory and by filling \u003cem>Pleasure\u003c/em>‘s songs with quick turns, interludes and echoes, creating a sinuous inflorescence evocative of many women’s responsive patterns and the polymorphous attention blur of a friendly orgy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If this sounds like a lot, Monáe and her collaborators make sure it goes down easy. \u003cem>The Age of Pleasure\u003c/em> is just over 30 minutes long and its structure is clean and tight. Supposedly an autobiographical departure from her previous character-driven concept albums, this neat set still displays an actor’s sensibility. It unfolds in three acts, with a bold opening, a complicated middle and a pleasing denouement. But unlike her earlier Cindi Mayweather trilogy, with its hugely detailed world-building and heady ideas about power, race and humanity itself, \u003cem>The Age of Pleasure \u003c/em>is contained, naturalistic and circular. It’s a round, a story that’s not linear but grounded in an ebb and flow, again like a woman’s sensuality — and in service of a utopian eroticism that runs on true mutual recognition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kEaclTJZCKc\u003c/p>\n\u003cp>True to her style and accommodating an instrument that’s more chameleonic than stunningly distinctive, Monáe puts on many voices throughout \u003cem>The Age of Pleasure\u003c/em>. The first four tracks are flexes, runway struts redolent of the ballroom (and, inevitably, Beyoncé’s \u003cem>Renaissance\u003c/em>). The dominant voice here is that of a haughty rapper who also likes to play. Monáe doesn’t walk, she floats; she’s on her champagne s***, phenomenal, so hot she’s \u003cem>haute\u003c/em>. This is the warm-up, the infusion of pride required to pursue pleasure without too much risk of being exploited. “I’m looking at a thousand versions of myself, and we’re all fine as f***,” Monáe spits over an avant-funk beat, ready to grab her besties and go on the prowl. Flipping a line from decadent \u003ca href=\"https://www.youtube.com/watch?v=EZiISc7Ej84&t=90s\">\u003cem>Euphoria\u003c/em>\u003c/a>, she speaks up for seductiveness as a strength instead of a destabilizing element.\u003c/p>\n\u003cp>[aside postid='arts_13930122']Her excursions occupy the album’s middle and most interesting section, a set of mid-tempo grooves that turn inward to describe a queer experience of pleasure. An interlude featuring Saint Grace Jones murmuring in French sets up the section; then comes “Lipstick Lover,” the summery reggae single that hovers in the air like a throwaway while establishing Monáe’s all-important perspective. “I like lipstick on my neck,” Monáe chants in the chorus, not only making clear that she wants queer fun but pointing toward erogenous zones that unseat Afropop and hip-hop’s \u003ca href=\"https://www.teenvogue.com/story/afrobeats-industry-needs-to-confront-its-bias-against-female-artists\">phallocentric tendencies\u003c/a>.\u003c/p>\n\u003cp>Even more effective is “The Rush,” its half time dancehall riddim and airy harmonies sounding like what being turned on feels like, steadily yet sneakily intensifying on a wave of Monáe’s murmurs with extra strokes from \u003ca href=\"https://www.npr.org/1180152530\">Amaarae\u003c/a> and Nia Long. “I get that \u003cem>feelin’\u003c/em>,” she repeats, redirecting her thought processes below her neck over a bed of what the credits describe as “percolating freaquencies.” Feeling becomes a way of thinking. Next comes “Water Slide,” its drenched metaphors accentuating the music’s body consciousness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jppx-EFJ818\u003c/p>\n\u003cp>The final turn in \u003cem>The Age of Pleasure \u003c/em>complicates pleasure by showing how it’s a two- (or three-) way street that can get a little bumpy. The insistence of “Know Better,” a lover’s plea built around densely multi-tracked vocals from Monáe and Nigerian crooner \u003ca href=\"https://www.youtube.com/watch?v=qNbAu0IZhKQ\">Ckay\u003c/a>, reminds the listener that pleasure demands consent. That song drifts right into “Paid In Pleasure,” a sticky allegory that lets in some perversion, turning sex’s sometimes transactional nature into a fetish. (Monáe’s early mentor Prince would have enjoyed this one.) Our sensual hero recovers her wits on the final two tracks — the adorable ode to throupling “Only Have Eyes 42,” which quotes a doo wop classic to swathe polyamory in innocence, and the brief, tender “A Dry Red,” which shows that Monaé can do yearning as convincingly as she can pose or purr, and begins the album’s cycle of awakening, pursuit and connection again.\u003c/p>\n\u003cp>[aside postid='arts_13927403']For all its narrative flair, \u003cem>The Age of Pleasure\u003c/em> is actually more about making space than telling a story, and that’s why this album is more instantly beguiling than her previous releases, whose high concepts could result in a certain chilliness. Monáe has called this space an oasis, and its sheltering vibes are paramount. The album’s rollout, via a \u003cem>Rolling Stone \u003c/em>cover and the \u003ca href=\"https://www.youtube.com/watch?v=Y7S6wLP_vsY\">“Lipstick Lover” video\u003c/a>, has centered on Wondaland West, the communal Los Angeles manse where Monáe is housemother, with its party-ready courtyard that \u003cem>Rolling Stone\u003c/em>‘s Mankaprr Conteh \u003ca href=\"https://www.rollingstone.com/music/music-features/janelle-monae-the-age-of-pleasure-album-interview-1234736254/\">described\u003c/a> as “magnificent, with its tranquil pool in the center and troves of nooks, crannies, outdoor baths, and citrus trees” — an Eden where slipping away with a special someone is as possible as joining in on a group hug. During lockdown, in collaboration with the diasporic roving party Everyday People, Monáe began hosting gatherings. \u003cem>The Age of Pleasure\u003c/em> reflects this communal experience, asserting that the only way pleasure can flower is in well-tended gardens where people can relax into themselves. For BIPOC and queer people, such places have often been difficult to find, and they are currently under siege. \u003cem>The Age of Pleasure \u003c/em>establishes its utopia to illuminate the need for more mundane versions of it to multiply.\u003c/p>\n\u003cp>The term “pleasure zone” has different meanings; it designates sensitive parts of the body, but also spaces where people can step outside the grind of their daily lives and play. Postmodern theory names certain characteristics of these spaces: They are sheltering, flexible and whimsical, allowing visitors to try on customarily unavailable modes of being. Access to such spaces has often been denied BIPOC and queer people; the history of the swimming pool, Monáe’s favorite metaphor, is stained with the blood of racist segregation. That’s why imagining — and creating — such oases matters so much, and why, for all its lightness, \u003cem>The Age of Pleasure\u003c/em> is profoundly political. As these songs move from Lagos polyrhythms to Atlanta \u003ca href=\"https://www.youtube.com/watch?v=vXmqauitBkM\">hip-hop horns\u003c/a> to variations on \u003ca href=\"https://www.youtube.com/watch?v=au7W8tbSFtU\">earlier pop twists\u003c/a> on dance floor innovation like executive producer Diddy’s long-lost project Dirty Money, \u003cem>The Age of Pleasure\u003c/em> conjures a dream of frictionless fluidity where any fantasy might be pursued, any identity embraced, safely. The myriad images of water add to the feeling of escaping gravity — and it’s definitely pool water, teal blue and protected from dangerous undertows, where a leg can press against a thigh on a floatie with no danger of pulling anyone under.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Janelle Monáe’s supreme ability to contain herself, to meld with the roles she takes on, is her main strength and shortcoming as a performer. She has achieved much as an actress by disappearing into roles that \u003ca href=\"https://www.netflix.com/tudum/articles/janelle-monae-character-glass-onion-costumes\">require her to don disguises\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=W3FxDJz_HDg\">help others disguise themselves\u003c/a>, keep secrets and find power \u003ca href=\"https://www.youtube.com/watch?v=lXz94_CRzAU\">on the margins\u003c/a>. Her music has sometimes lacked a strong charismatic center as she’s pursued different characters and plotlines. On \u003cem>The Age of Pleasure\u003c/em> she experiments with a new role — that of her own fine self, alive in a body and eager to feel as much as she can. This allows her to put aside the highly dramatic expressiveness to which she’s not suited and instead dwell in that liquid experience of suggestiveness and seduction where gestures speak louder than words. Monáe still seems to resist intense emotions — heartache, for example, doesn’t surface anywhere here, and despite all the kissing and licking and offers to keep her lovers coming, she doesn’t hit any orgasmic notes herself. Instead, she and the Wondaland crew offer an alternative to all that: a wet dream of a better world.\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=Janelle+Mon%C3%A1e+wants+you+...+to+enter+the+%27Pleasure%27+zone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the already uncomfortably hot summer of 2023, talk of pleasure can hit like a forbidden tonic, providing relief from a steady diet of grief, outrage and anxiety. Janelle Monáe’s new album \u003cem>The Age of Pleasure\u003c/em> presents itself as both that stimulant and a guidebook, a compact compendium of fantasies and pep talks designed to encourage listeners to relax into the dopamine-rushed present tense.\u003c/p>\n\u003cp>“If I could f*** me right here right now I would do that,” the singer-actor-conceptualist turned libertine lifestyle coach sings in “Water Slide,” a reggaefied mid-record romp that plays with swimming metaphors — \u003cem>backstroke, freestyle, surfing on the thing like it’s high tide \u003c/em>— to invoke a tipsy kind of arousal that lingers delightfully, requiring no release. A floating feeling, like being drawn into a swimming pool’s lazy river. Or like getting intimate without an end goal in mind, in a safe space with someone you love. “I could spend the whole day in it,” Monáe swoons, and by “it” she means pleasure itself.\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/Ag7Ul4U_dSI'\n title='//www.youtube.com/embed/Ag7Ul4U_dSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Monáe’s world pleasure means some obvious things — material comfort, self-love, carefully maintained ties with intimates and an open-ended approach to alluring strangers. Musically, these values find expression in a certain cadence, that \u003cem>clavé \u003c/em>groove that unfolds the way sexual excitement does, slowing time down and speeding it up all at once. Monáe and her collaborators in the Wondaland Arts Society ground \u003cem>The Age of Pleasure\u003c/em> in the complex yet accessible rhythms of \u003ca href=\"https://www.rollingstone.com/music/music-features/afrobeats-global-rise-1282575/\">Afrobeats\u003c/a> (some prefer Afropop), the diasporic dance music that shares sonic borders with global Latin pop and Caribbean riddims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Afrobeats is the ground of much current mainstream pop, recasting hip-hop on the global stage in ways that are both historically minded — the presence of Nigerian scion\u003ca href=\"https://www.seunkuti.net/\"> Seun Kuti \u003c/a>and Egypt 80 on this album accomplish that goal — and \u003cem>au courant\u003c/em>. Monáe queers the trend with lyrics that celebrate same-sex encounters and polyamory and by filling \u003cem>Pleasure\u003c/em>‘s songs with quick turns, interludes and echoes, creating a sinuous inflorescence evocative of many women’s responsive patterns and the polymorphous attention blur of a friendly orgy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If this sounds like a lot, Monáe and her collaborators make sure it goes down easy. \u003cem>The Age of Pleasure\u003c/em> is just over 30 minutes long and its structure is clean and tight. Supposedly an autobiographical departure from her previous character-driven concept albums, this neat set still displays an actor’s sensibility. It unfolds in three acts, with a bold opening, a complicated middle and a pleasing denouement. But unlike her earlier Cindi Mayweather trilogy, with its hugely detailed world-building and heady ideas about power, race and humanity itself, \u003cem>The Age of Pleasure \u003c/em>is contained, naturalistic and circular. It’s a round, a story that’s not linear but grounded in an ebb and flow, again like a woman’s sensuality — and in service of a utopian eroticism that runs on true mutual recognition.\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/kEaclTJZCKc'\n title='//www.youtube.com/embed/kEaclTJZCKc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>True to her style and accommodating an instrument that’s more chameleonic than stunningly distinctive, Monáe puts on many voices throughout \u003cem>The Age of Pleasure\u003c/em>. The first four tracks are flexes, runway struts redolent of the ballroom (and, inevitably, Beyoncé’s \u003cem>Renaissance\u003c/em>). The dominant voice here is that of a haughty rapper who also likes to play. Monáe doesn’t walk, she floats; she’s on her champagne s***, phenomenal, so hot she’s \u003cem>haute\u003c/em>. This is the warm-up, the infusion of pride required to pursue pleasure without too much risk of being exploited. “I’m looking at a thousand versions of myself, and we’re all fine as f***,” Monáe spits over an avant-funk beat, ready to grab her besties and go on the prowl. Flipping a line from decadent \u003ca href=\"https://www.youtube.com/watch?v=EZiISc7Ej84&t=90s\">\u003cem>Euphoria\u003c/em>\u003c/a>, she speaks up for seductiveness as a strength instead of a destabilizing element.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her excursions occupy the album’s middle and most interesting section, a set of mid-tempo grooves that turn inward to describe a queer experience of pleasure. An interlude featuring Saint Grace Jones murmuring in French sets up the section; then comes “Lipstick Lover,” the summery reggae single that hovers in the air like a throwaway while establishing Monáe’s all-important perspective. “I like lipstick on my neck,” Monáe chants in the chorus, not only making clear that she wants queer fun but pointing toward erogenous zones that unseat Afropop and hip-hop’s \u003ca href=\"https://www.teenvogue.com/story/afrobeats-industry-needs-to-confront-its-bias-against-female-artists\">phallocentric tendencies\u003c/a>.\u003c/p>\n\u003cp>Even more effective is “The Rush,” its half time dancehall riddim and airy harmonies sounding like what being turned on feels like, steadily yet sneakily intensifying on a wave of Monáe’s murmurs with extra strokes from \u003ca href=\"https://www.npr.org/1180152530\">Amaarae\u003c/a> and Nia Long. “I get that \u003cem>feelin’\u003c/em>,” she repeats, redirecting her thought processes below her neck over a bed of what the credits describe as “percolating freaquencies.” Feeling becomes a way of thinking. Next comes “Water Slide,” its drenched metaphors accentuating the music’s body consciousness.\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/jppx-EFJ818'\n title='//www.youtube.com/embed/jppx-EFJ818'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final turn in \u003cem>The Age of Pleasure \u003c/em>complicates pleasure by showing how it’s a two- (or three-) way street that can get a little bumpy. The insistence of “Know Better,” a lover’s plea built around densely multi-tracked vocals from Monáe and Nigerian crooner \u003ca href=\"https://www.youtube.com/watch?v=qNbAu0IZhKQ\">Ckay\u003c/a>, reminds the listener that pleasure demands consent. That song drifts right into “Paid In Pleasure,” a sticky allegory that lets in some perversion, turning sex’s sometimes transactional nature into a fetish. (Monáe’s early mentor Prince would have enjoyed this one.) Our sensual hero recovers her wits on the final two tracks — the adorable ode to throupling “Only Have Eyes 42,” which quotes a doo wop classic to swathe polyamory in innocence, and the brief, tender “A Dry Red,” which shows that Monaé can do yearning as convincingly as she can pose or purr, and begins the album’s cycle of awakening, pursuit and connection again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all its narrative flair, \u003cem>The Age of Pleasure\u003c/em> is actually more about making space than telling a story, and that’s why this album is more instantly beguiling than her previous releases, whose high concepts could result in a certain chilliness. Monáe has called this space an oasis, and its sheltering vibes are paramount. The album’s rollout, via a \u003cem>Rolling Stone \u003c/em>cover and the \u003ca href=\"https://www.youtube.com/watch?v=Y7S6wLP_vsY\">“Lipstick Lover” video\u003c/a>, has centered on Wondaland West, the communal Los Angeles manse where Monáe is housemother, with its party-ready courtyard that \u003cem>Rolling Stone\u003c/em>‘s Mankaprr Conteh \u003ca href=\"https://www.rollingstone.com/music/music-features/janelle-monae-the-age-of-pleasure-album-interview-1234736254/\">described\u003c/a> as “magnificent, with its tranquil pool in the center and troves of nooks, crannies, outdoor baths, and citrus trees” — an Eden where slipping away with a special someone is as possible as joining in on a group hug. During lockdown, in collaboration with the diasporic roving party Everyday People, Monáe began hosting gatherings. \u003cem>The Age of Pleasure\u003c/em> reflects this communal experience, asserting that the only way pleasure can flower is in well-tended gardens where people can relax into themselves. For BIPOC and queer people, such places have often been difficult to find, and they are currently under siege. \u003cem>The Age of Pleasure \u003c/em>establishes its utopia to illuminate the need for more mundane versions of it to multiply.\u003c/p>\n\u003cp>The term “pleasure zone” has different meanings; it designates sensitive parts of the body, but also spaces where people can step outside the grind of their daily lives and play. Postmodern theory names certain characteristics of these spaces: They are sheltering, flexible and whimsical, allowing visitors to try on customarily unavailable modes of being. Access to such spaces has often been denied BIPOC and queer people; the history of the swimming pool, Monáe’s favorite metaphor, is stained with the blood of racist segregation. That’s why imagining — and creating — such oases matters so much, and why, for all its lightness, \u003cem>The Age of Pleasure\u003c/em> is profoundly political. As these songs move from Lagos polyrhythms to Atlanta \u003ca href=\"https://www.youtube.com/watch?v=vXmqauitBkM\">hip-hop horns\u003c/a> to variations on \u003ca href=\"https://www.youtube.com/watch?v=au7W8tbSFtU\">earlier pop twists\u003c/a> on dance floor innovation like executive producer Diddy’s long-lost project Dirty Money, \u003cem>The Age of Pleasure\u003c/em> conjures a dream of frictionless fluidity where any fantasy might be pursued, any identity embraced, safely. The myriad images of water add to the feeling of escaping gravity — and it’s definitely pool water, teal blue and protected from dangerous undertows, where a leg can press against a thigh on a floatie with no danger of pulling anyone under.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Janelle Monáe’s supreme ability to contain herself, to meld with the roles she takes on, is her main strength and shortcoming as a performer. She has achieved much as an actress by disappearing into roles that \u003ca href=\"https://www.netflix.com/tudum/articles/janelle-monae-character-glass-onion-costumes\">require her to don disguises\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=W3FxDJz_HDg\">help others disguise themselves\u003c/a>, keep secrets and find power \u003ca href=\"https://www.youtube.com/watch?v=lXz94_CRzAU\">on the margins\u003c/a>. Her music has sometimes lacked a strong charismatic center as she’s pursued different characters and plotlines. On \u003cem>The Age of Pleasure\u003c/em> she experiments with a new role — that of her own fine self, alive in a body and eager to feel as much as she can. This allows her to put aside the highly dramatic expressiveness to which she’s not suited and instead dwell in that liquid experience of suggestiveness and seduction where gestures speak louder than words. Monáe still seems to resist intense emotions — heartache, for example, doesn’t surface anywhere here, and despite all the kissing and licking and offers to keep her lovers coming, she doesn’t hit any orgasmic notes herself. Instead, she and the Wondaland crew offer an alternative to all that: a wet dream of a better world.\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=Janelle+Mon%C3%A1e+wants+you+...+to+enter+the+%27Pleasure%27+zone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Blue Jean,’ a Nuanced Picture of Life as a Lesbian in Margaret Thatcher’s Britain",
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"content": "\u003cp>A high school gym teacher grappling with her sexual identity is challenged on both a micro and macro level in 1988 England in \u003cem>Blue Jean\u003c/em>, a quietly complex portrait of compartmentalization and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13929913']In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mGGRNmIU7fc\u003c/p>\n\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\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/mGGRNmIU7fc'\n title='//www.youtube.com/embed/mGGRNmIU7fc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13930280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-800x1124.jpg\" alt=\"The cover of a graphic novel titled 'The Talk' features an illustration of a Black boy wearing a grey hoodie. \" width=\"800\" height=\"1124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-800x1124.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-1020x1434.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-768x1080.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-1093x1536.jpg 1093w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784-1457x2048.jpg 1457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/bell_custom-e04492cfa2bdfacc2d1d692703410d3b9267d784.jpg 1817w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’The Talk’ by Darrin Bell. \u003ccite>(Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the prologue to Darrin Bell’s expansive debut graphic memoir, \u003cem>The Talk\u003c/em>, he illustrates, in comics, his memory of being six years old and coming face to face with a pack of snarling, snaggle-toothed dogs. The children around him kneel and hold out their hands to the terrifying animals, but in the moment young Bell can only freeze.\u003c/p>\n\u003cp>[aside postid='arts_13929396']His wide eyes, drawn in simple cartoonish lines that seem nearly to jump off the page, enmesh readers in the scene. The child senses the dogs’ continued pursuit of him for weeks after, though his older brother, Steven, assures him he is just imagining the threat. At the conclusion to this prescient opening, the curly haired boy is drawn sitting safely on a school bus, riding away from what he most fears. He crouches over a piece of paper, red crayon in hand, as the adult Bell recounts of his young self, speaking in the present tense: “I draw the beast I know I saw.”\u003c/p>\n\u003cp>Bell’s galvanizing new work is all about those two interjecting words, “I know.” \u003cem>The Talk \u003c/em>explores the question of how people — in this case, a precocious, geeky, and artistic young man, the child of a white mother and Black father — know what they know. How can you make sense of the world around you when your lived experiences don’t match up with the conflicting things people around you, particularly adults, say or do?\u003c/p>\n\u003cfigure id=\"attachment_13930289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png\" alt=\"A page from 'The Talk' in which a young Black boy asks his mom why his new water pistol is green and doesn't look anything like a real gun.\" width=\"800\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-768x1098.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM.png 834w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first chapter tracks another pivotal, horrifying moment from the same year in the boy’s young life. Bell’s mom holds off on buying her son a water gun for fear of the racialized violence that daily puts Black boys and men disproportionately at risk. When she finally succumbs to her young son’s pleas to join in on the children’s games he sees on the playground, the result, unbeknownst to her, is as disastrous as it is devastating. He is refilling his neon green water gun in a puddle on a street corner, imagining himself a heroic Luke Skywalker in hot pursuit, when a police officer descends on him. The incident stuns the child out of play and into paralysis, and he cannot talk about it for years after. That day, he goes home, dismisses his mother’s inquiries, and sits alone to draw.\u003c/p>\n\u003cp>[aside postid='arts_13929802']\u003cem>The Talk \u003c/em>goes on to trace decisive moments in the cartoonist’s childhood and adolescence as he navigates his way through Los Angeles and Berkeley in the 1980s and ’90s, and into his adult life as a successful professional, a husband and a father. It’s a portrait of an artist coming into his own — Bell is a Pulitzer-prize winning editorial cartoonist as well as the creator of a number of hugely popular syndicated comic strips, including \u003cem>Candorville.\u003c/em> Like Ta-Nehisi Coates’s \u003cem>Between the World and Me\u003c/em>, and Kwame Alexander’s more recent \u003cem>Why Fathers Cry at Night\u003c/em>, the book is in part premised on a parent’s desire to address hard subjects with his young children in mind. He wants not so much to explain how, or why, the world works as it does — though Bell’s imaginative, deeply thoughtful metaphors and analogies for racism and prejudice consistently pepper the book in trenchant ways. Instead readers might think of \u003cem>The Talk \u003c/em>in keeping with Bell’s description of editorial cartooning. Soon after he wins the Pulitzer for his work satirizing Trump and his political machinations, he narrates: “My son asks if I won for saying how to fix it. I tell him, no, I won for pointing out what’s broken.”\u003c/p>\n\u003cfigure id=\"attachment_13930290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png\" alt=\"An illustration of a Black man staring at his reflection in a window. Instead of himself, he sees Trayvon Martin.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-1020x979.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-768x737.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM.png 1292w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book is visually stunning, and propulsive, with an absorbing narrative voice. Divided into almost two dozen chapters, its drawings fluctuate from the whimsically cartoonish to the delightfully painterly. The page layouts are complex and often surprising, with illustrations sometimes splitting at the seams to suggest confusion, or fluctuation. At other times single images swell across pages to convey the overwhelming atmosphere of a caustic memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13929021']The subject matter is often difficult, as the book gathers episodes taken from years and years of micro and macro aggressions as experienced by the narrator. They are violent words and acts accrued from strangers as well as those who have known him over the years, from a school friend to a white female professor at Berkeley who baselessly accuses Bell of plagiarism at the very end of his senior year.\u003c/p>\n\u003cp>Despite its weighty, multi-tiered approach — this is not, on multiple levels, an easy read — \u003cem>The Talk \u003c/em>is difficult to put down. Reminiscent of longform comics memoirs such as Alison Bechdel’s \u003cem>Fun Home \u003c/em>and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, stories about young writers and artists finding their ways through both personal and structural hardships and strife, this epic portrait of an artist is a masterpiece. Like the effects of an unduly perceptive editorial cartoon, \u003cem>The Talk \u003c/em>makes a penetrative, and lasting, impression.\u003c/p>\n\u003cfigure id=\"attachment_13930291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png\" alt=\"An illustration depicts a close up view of an eyeball and eyelashes. Reflected in the eye is a Black man closely embracing an infant. \" width=\"800\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-768x1026.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM.png 964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’The Talk’ by Darrin Bell. \u003ccite>(Darrin Bell/Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\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+Talk%27+is+an+epic+portrait+of+an+artist+making+his+way+through+hardships&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His wide eyes, drawn in simple cartoonish lines that seem nearly to jump off the page, enmesh readers in the scene. The child senses the dogs’ continued pursuit of him for weeks after, though his older brother, Steven, assures him he is just imagining the threat. At the conclusion to this prescient opening, the curly haired boy is drawn sitting safely on a school bus, riding away from what he most fears. He crouches over a piece of paper, red crayon in hand, as the adult Bell recounts of his young self, speaking in the present tense: “I draw the beast I know I saw.”\u003c/p>\n\u003cp>Bell’s galvanizing new work is all about those two interjecting words, “I know.” \u003cem>The Talk \u003c/em>explores the question of how people — in this case, a precocious, geeky, and artistic young man, the child of a white mother and Black father — know what they know. How can you make sense of the world around you when your lived experiences don’t match up with the conflicting things people around you, particularly adults, say or do?\u003c/p>\n\u003cfigure id=\"attachment_13930289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png\" alt=\"A page from 'The Talk' in which a young Black boy asks his mom why his new water pistol is green and doesn't look anything like a real gun.\" width=\"800\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-800x1143.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM-768x1098.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.10.31-AM.png 834w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first chapter tracks another pivotal, horrifying moment from the same year in the boy’s young life. Bell’s mom holds off on buying her son a water gun for fear of the racialized violence that daily puts Black boys and men disproportionately at risk. When she finally succumbs to her young son’s pleas to join in on the children’s games he sees on the playground, the result, unbeknownst to her, is as disastrous as it is devastating. He is refilling his neon green water gun in a puddle on a street corner, imagining himself a heroic Luke Skywalker in hot pursuit, when a police officer descends on him. The incident stuns the child out of play and into paralysis, and he cannot talk about it for years after. That day, he goes home, dismisses his mother’s inquiries, and sits alone to draw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Talk \u003c/em>goes on to trace decisive moments in the cartoonist’s childhood and adolescence as he navigates his way through Los Angeles and Berkeley in the 1980s and ’90s, and into his adult life as a successful professional, a husband and a father. It’s a portrait of an artist coming into his own — Bell is a Pulitzer-prize winning editorial cartoonist as well as the creator of a number of hugely popular syndicated comic strips, including \u003cem>Candorville.\u003c/em> Like Ta-Nehisi Coates’s \u003cem>Between the World and Me\u003c/em>, and Kwame Alexander’s more recent \u003cem>Why Fathers Cry at Night\u003c/em>, the book is in part premised on a parent’s desire to address hard subjects with his young children in mind. He wants not so much to explain how, or why, the world works as it does — though Bell’s imaginative, deeply thoughtful metaphors and analogies for racism and prejudice consistently pepper the book in trenchant ways. Instead readers might think of \u003cem>The Talk \u003c/em>in keeping with Bell’s description of editorial cartooning. Soon after he wins the Pulitzer for his work satirizing Trump and his political machinations, he narrates: “My son asks if I won for saying how to fix it. I tell him, no, I won for pointing out what’s broken.”\u003c/p>\n\u003cfigure id=\"attachment_13930290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png\" alt=\"An illustration of a Black man staring at his reflection in a window. Instead of himself, he sees Trayvon Martin.\" width=\"800\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-800x768.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-1020x979.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM-768x737.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.13.33-AM.png 1292w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘The Talk.’ \u003ccite>(Darrin Bell/ Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book is visually stunning, and propulsive, with an absorbing narrative voice. Divided into almost two dozen chapters, its drawings fluctuate from the whimsically cartoonish to the delightfully painterly. The page layouts are complex and often surprising, with illustrations sometimes splitting at the seams to suggest confusion, or fluctuation. At other times single images swell across pages to convey the overwhelming atmosphere of a caustic memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The subject matter is often difficult, as the book gathers episodes taken from years and years of micro and macro aggressions as experienced by the narrator. They are violent words and acts accrued from strangers as well as those who have known him over the years, from a school friend to a white female professor at Berkeley who baselessly accuses Bell of plagiarism at the very end of his senior year.\u003c/p>\n\u003cp>Despite its weighty, multi-tiered approach — this is not, on multiple levels, an easy read — \u003cem>The Talk \u003c/em>is difficult to put down. Reminiscent of longform comics memoirs such as Alison Bechdel’s \u003cem>Fun Home \u003c/em>and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, stories about young writers and artists finding their ways through both personal and structural hardships and strife, this epic portrait of an artist is a masterpiece. Like the effects of an unduly perceptive editorial cartoon, \u003cem>The Talk \u003c/em>makes a penetrative, and lasting, impression.\u003c/p>\n\u003cfigure id=\"attachment_13930291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png\" alt=\"An illustration depicts a close up view of an eyeball and eyelashes. Reflected in the eye is a Black man closely embracing an infant. \" width=\"800\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-800x1069.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM-768x1026.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-08-at-10.17.13-AM.png 964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’The Talk’ by Darrin Bell. \u003ccite>(Darrin Bell/Henry Holt & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\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+Talk%27+is+an+epic+portrait+of+an+artist+making+his+way+through+hardships&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Flamin’ Hot Cheetos Get a Loaded Origin Story — One That’s Worth the Crunch",
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"content": "\u003cp>Flamin’ Hot Cheetos get an origin story worthy of any Marvel superhero with Hulu’s totally engrossing \u003cem>Flamin’ Hot\u003c/em>. It’s the tale of how a struggling Mexican American janitor came up with the idea of adding spice to the cornmeal, forever saving after-school snacking.\u003c/p>\n\u003cp>Is it true? Probably not. Don’t let that stop you.\u003c/p>\n\u003cp>You’ll wish \u003cem>Flamin’ Hot\u003c/em> was accurate because it’s a winning tale of perseverance, family love, proud heritage and blue-collar success, told with a wink, some Cheetos dust and a ton of love by Eva Longoria, in her directorial debut.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=it7sNRloq-A\u003c/p>\n\u003cp>Jesse Garcia stars as Richard Montañez, a one-time Frito-Lay floor-sweeper in southern California who convinced his bosses to make a snack that celebrates the flavors of Mexico despite a seven-layer dip of skeptics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“New products take years to develop, cost millions to launch and they do not get created by blue-collar hoodlums, who probably can’t spell hoodlum,” our hero is told.\u003c/p>\n\u003cp>Nevertheless, Montañez persists, cracking the Latino market and repairing his relationship with his abusive father along the way. “I’m the guy who helped bring the world the most popular snack it’s ever seen,” he says in a voice-over.\u003c/p>\n\u003cp>[aside postid='arts_13913985']It’s an unlikely story, for sure. No, really. It’s unlikely. \u003cem>The Los Angeles Times\u003c/em> has published allegations that Montañez fabricated his role in the snack’s creation and Frito-Lay says he “was not involved.”\u003c/p>\n\u003cp>But Longoria and the screenplay by Lewis Colick and Linda Yvette Chávez — based on Montañez memoir — will have you cheering when the gnarled red snacks finally zip along on an assembly line and you’ll be ready to gleefully fist-bump Montañez, played understatedly but with deep soul by Garcia.\u003c/p>\n\u003cp>This is more than just a snack-version \u003cem>Rocky\u003c/em> story, with the filmmakers exploring the insecurity of factory shift workers, the stress of integrating into white culture, how hard it is for corporations to innovate and the ability to silence the voices in your head that urge you to quit.\u003c/p>\n\u003cfigure id=\"attachment_13930230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png\" alt=\"A man sits slumped on a park bench absent-mindedly staring at the street corn in his right hand. Two small boys sit either side of him, also eating corn. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM.png 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Hunter Jones, Jesse Garcia and Brice Gonzalez in a scene from ‘Flamin’ Hot.’ \u003ccite>(Emily Aragones/Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one heartbreaking early scene, Montañez — so poor he waters down the milk for his kids and uses chewing gum to seal holes in their shoes — is wide-eyed at the Frito-Lay factory until he notices all the overcooked chips are tossed. “People are always trying to throw away the brown ones,” he says.\u003c/p>\n\u003cp>The filmmakers enliven their story with wonderful flights of fancy, like when we see Montañez lose it and beat up a manager with a mop after being called Paco. “Nah, just kidding,” he says in the voice over. ”What you think? It was my first week on the job.”\u003c/p>\n\u003cp>To show the passage of time during the Reagan administration, they’ve also cleverly got a man on the factory floor holding a box reading “1985,” the extruder pumps out “1986” and forklifts carrying boxes that read “1987” and “1988.”\u003c/p>\n\u003cp>[aside postid='arts_13929913']There are a few references to Frito-Lay scientists in the Midwest also working on a spicy flavor, but this is strictly a fist-in-the-air portrayal of Montañez alone, set to a soundtrack of Latin artists like Santana, Los Lobos and Ozomatli.\u003c/p>\n\u003cp>His heroic arc is more than a little unbelievable, especially when he taps his former drug-dealing pals to start handing out free bags of chips like pushers, and for the many times he jumps up on a piece of factory equipment to deliver a \u003cem>Dead Poets Society\u003c/em>-like speech.\u003c/p>\n\u003cp>Dennis Haysbert as a gruff engineer, Annie Gonzalez as Montañez’s loving wife and Tony Shalhoub as the CEO of Frito-Lay all add welcome flavor notes.\u003c/p>\n\u003cp>It’s the montages that really shine, like the moment in a park when Montañez, eating elote and watching everyone put hot sauce on their food, gets a vision of a spicy snack. “I had been searching for an answer. Or a door to open. And there it was all around me. It had been there the entire time,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13930228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png\" alt=\"A small boy sits at a round dining table, a bowl of red snacks in front of him. As he bites into one, his parents and brother watch closely.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM.png 1430w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brice Gonzalez, Annie Gonzalez, Jesse Garcia and Hunter Jones. \u003ccite>(Emily Aragones/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s also the sequence when he and his family try every chile combo — poblano, pasilla, serrano, guajillo and habanero included — until they find the right formula, often hovering around their youngest kid as he samples a chip and gives them the green light.\u003c/p>\n\u003cp>The final product is credited with opening the door to cool new convenience store flavors and for U.S. corporations to finally respect the Latino market. That’s a lot of stuff to put in a bag of chips, even if it’s all made up. But it’s so fun to watch. It burns so good.\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>‘Flamin’ Hot’ is out on June 9, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Flamin’ Hot Cheetos get an origin story worthy of any Marvel superhero with Hulu’s totally engrossing \u003cem>Flamin’ Hot\u003c/em>. It’s the tale of how a struggling Mexican American janitor came up with the idea of adding spice to the cornmeal, forever saving after-school snacking.\u003c/p>\n\u003cp>Is it true? Probably not. Don’t let that stop you.\u003c/p>\n\u003cp>You’ll wish \u003cem>Flamin’ Hot\u003c/em> was accurate because it’s a winning tale of perseverance, family love, proud heritage and blue-collar success, told with a wink, some Cheetos dust and a ton of love by Eva Longoria, in her directorial debut.\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/it7sNRloq-A'\n title='//www.youtube.com/embed/it7sNRloq-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jesse Garcia stars as Richard Montañez, a one-time Frito-Lay floor-sweeper in southern California who convinced his bosses to make a snack that celebrates the flavors of Mexico despite a seven-layer dip of skeptics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an unlikely story, for sure. No, really. It’s unlikely. \u003cem>The Los Angeles Times\u003c/em> has published allegations that Montañez fabricated his role in the snack’s creation and Frito-Lay says he “was not involved.”\u003c/p>\n\u003cp>But Longoria and the screenplay by Lewis Colick and Linda Yvette Chávez — based on Montañez memoir — will have you cheering when the gnarled red snacks finally zip along on an assembly line and you’ll be ready to gleefully fist-bump Montañez, played understatedly but with deep soul by Garcia.\u003c/p>\n\u003cp>This is more than just a snack-version \u003cem>Rocky\u003c/em> story, with the filmmakers exploring the insecurity of factory shift workers, the stress of integrating into white culture, how hard it is for corporations to innovate and the ability to silence the voices in your head that urge you to quit.\u003c/p>\n\u003cfigure id=\"attachment_13930230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png\" alt=\"A man sits slumped on a park bench absent-mindedly staring at the street corn in his right hand. Two small boys sit either side of him, also eating corn. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM.png 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Hunter Jones, Jesse Garcia and Brice Gonzalez in a scene from ‘Flamin’ Hot.’ \u003ccite>(Emily Aragones/Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one heartbreaking early scene, Montañez — so poor he waters down the milk for his kids and uses chewing gum to seal holes in their shoes — is wide-eyed at the Frito-Lay factory until he notices all the overcooked chips are tossed. “People are always trying to throw away the brown ones,” he says.\u003c/p>\n\u003cp>The filmmakers enliven their story with wonderful flights of fancy, like when we see Montañez lose it and beat up a manager with a mop after being called Paco. “Nah, just kidding,” he says in the voice over. ”What you think? It was my first week on the job.”\u003c/p>\n\u003cp>To show the passage of time during the Reagan administration, they’ve also cleverly got a man on the factory floor holding a box reading “1985,” the extruder pumps out “1986” and forklifts carrying boxes that read “1987” and “1988.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are a few references to Frito-Lay scientists in the Midwest also working on a spicy flavor, but this is strictly a fist-in-the-air portrayal of Montañez alone, set to a soundtrack of Latin artists like Santana, Los Lobos and Ozomatli.\u003c/p>\n\u003cp>His heroic arc is more than a little unbelievable, especially when he taps his former drug-dealing pals to start handing out free bags of chips like pushers, and for the many times he jumps up on a piece of factory equipment to deliver a \u003cem>Dead Poets Society\u003c/em>-like speech.\u003c/p>\n\u003cp>Dennis Haysbert as a gruff engineer, Annie Gonzalez as Montañez’s loving wife and Tony Shalhoub as the CEO of Frito-Lay all add welcome flavor notes.\u003c/p>\n\u003cp>It’s the montages that really shine, like the moment in a park when Montañez, eating elote and watching everyone put hot sauce on their food, gets a vision of a spicy snack. “I had been searching for an answer. Or a door to open. And there it was all around me. It had been there the entire time,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13930228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png\" alt=\"A small boy sits at a round dining table, a bowl of red snacks in front of him. As he bites into one, his parents and brother watch closely.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM.png 1430w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brice Gonzalez, Annie Gonzalez, Jesse Garcia and Hunter Jones. \u003ccite>(Emily Aragones/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s also the sequence when he and his family try every chile combo — poblano, pasilla, serrano, guajillo and habanero included — until they find the right formula, often hovering around their youngest kid as he samples a chip and gives them the green light.\u003c/p>\n\u003cp>The final product is credited with opening the door to cool new convenience store flavors and for U.S. corporations to finally respect the Latino market. That’s a lot of stuff to put in a bag of chips, even if it’s all made up. But it’s so fun to watch. It burns so good.\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>‘Flamin’ Hot’ is out on June 9, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elliot Page Shares Struggles and Former Selves in Engaging New Memoir",
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"content": "\u003cp>Reading \u003cem>Pageboy,\u003c/em> Elliot Page’s memoir, I found myself hoping and praying that the world might treat queer kids with more kindness today than it did when the actor was growing up.\u003c/p>\n\u003cp>“Dennis, what are you gonna do if Ellen’s a dyke?” Page recalls his grandmother asking his father, knowing full well that Page was in the room.\u003c/p>\n\u003cp>At six years old, when Page asked his mom if he could be a boy, she matter-of-factly responded: “No, hon, you can’t, you’re a girl … But you can do anything a boy can do.”\u003c/p>\n\u003cp>[aside postid='arts_13929913']That same conversation between parent and child might play out a little differently in the current climate, now that trans and gender non-conforming communities and issues are more visible than ever before. Then again, with legal attacks being waged on transgender rights across the country, perhaps it wouldn’t. What\u003cem> Pageboy\u003c/em> does very well over the course of its 29 chapters is hammer home the damage done — and the pain endured — by kids like Page who aren’t given the full support they need to be who they are from a young age.\u003c/p>\n\u003cp>\u003cem>Pageboy\u003c/em> flits back and forth in time, bouncing between various movie sets, awkward childhood moments and multiple relationships. The nonlinear structure can be dizzying (and not always successful), but if there is a theme that runs throughout the memoir, it’s of pain endured and survival fought for. And there is not a small amount of either here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Page describes navigating exploitation as a teen actor and being preyed on by multiple men and one woman on a variety of sets. He recounts his nerve-rattling experience with a stalker while just 16 years old. Turning 18, Page writes, didn’t improve his situation. Rather, it created “an unspoken permission slip I didn’t consent to” — a notion that won’t be lost on many girls and women reading.\u003c/p>\n\u003cfigure id=\"attachment_13930202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg\" alt=\"A book cover showing a youthful transgender man wearing blue jeans and a white tank top, and sitting in front of a red backdrop.\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1325x2048.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-scaled.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pageboy’ by Elliot Page. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dotted throughout are also Page’s painful memories of homophobic attacks, starting in adolescence and running well past the point of fame. After coming out in 2014, for example, Page was accosted at a party by “one of the most famous actors in the world.” This man, drunk at the time, unfurled a torrent of abuse on Page, telling him that he wasn’t really attracted to women, he was “just afraid of men.” In one particularly disturbing moment, the actor told Page “I’m going to fuck you to make you realize you aren’t gay.”\u003c/p>\n\u003cp>[aside postid='arts_13930106']It’s an enormous shame — and likely a legally prescribed one — that Page doesn’t name names here.\u003c/p>\n\u003cp>The party incident is not the only time Page doesn’t point fingers as directly as I wish he could. Page writes extensively of a closeted actress that he met while making a movie together. They had a prolonged secret affair that ended in heartbreak for Page — a pain made worse by running into her at a party while she was on a date with a man. I would be lying if I said I didn’t go straight to IMDB to try and figure out which costar Page was describing. (I failed.)\u003c/p>\n\u003cp>Thankfully, it’s much easier to discern which “world-renowned photographer” once gave Page a hard time at a magazine shoot. Based on the clues in the story, it’s almost certainly about a \u003cem>Vanity Fair\u003c/em> shoot with Annie Liebovitz in which Page was forced to don a tight blue dress and red heels. Looking back at the photos now, it’s impossible not to notice \u003ca href=\"https://www.searchlightpictures.com/news/ellen-on-ew-and-vanity-fair-covers-kimya-on-abc/\">his defeated slump\u003c/a>.\u003c/p>\n\u003cp>What makes reading all of the hardships in \u003cem>Pageboy\u003c/em> bearable are the passages celebrating the relief of slowly finding the strength and support to be his authentic self. Describing his coming out in 2014, Page’s newfound feeling of liberation screams out from the page. (“I had a burgeoning sense of ease in the world, a confidence … This time of firsts and newfound boldness was also, unsurprisingly perhaps, the most promiscuous period of my life.”)\u003c/p>\n\u003cp>Similarly, the relief after Page’s first gender-affirming surgery is blissful to read after so many sections about fear and the struggle to come out as transgender. “Mark picked me up after the three-or-so-hour procedure,” Page relays in the book’s penultimate chapter. “He took a photo of me … high as fuck, wearing a black compression vest, my nipples just removed and slapped back on. The smile on my face, in my eyes, the degree of contentment glowing off me, phew.”\u003c/p>\n\u003cp>[aside postid='arts_13926077']\u003cem>Pageboy\u003c/em> is not always an easy read. But there is a blunt honesty in Page’s writing that makes this memoir an important testimony, especially for queer and gender non-conforming kids, that things can and do get better. In many ways, the most painful periods of Page’s life stand as a testament to what happens to people unable to live as they wish and love who they want. Having endured years in the public eye while closeted, and experienced homophobia since coming out, Page has an unflinching clarity about which one was worse.\u003c/p>\n\u003cp>“I’d rather feel pain while living,” Page asserts in Chapter 8, “than hiding.”\u003c/p>\n\u003cp>Amen to that.\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>‘Pageboy’ by Elliot Page is out now, via \u003ca href=\"https://www.flatironbooks.com/\">Flatiron Books\u003c/a>. Page will be appearing at San Francisco’s Sydney Goldstein Theater (275 Hayes St.) as part of the City Arts & Lectures series, on Saturday, June 10, 2023 at 7:30pm. A recording of the event will be broadcast on KQED on Aug. 6, 2023. \u003ca href=\"https://www.cityarts.net/event/elliot-page/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading \u003cem>Pageboy,\u003c/em> Elliot Page’s memoir, I found myself hoping and praying that the world might treat queer kids with more kindness today than it did when the actor was growing up.\u003c/p>\n\u003cp>“Dennis, what are you gonna do if Ellen’s a dyke?” Page recalls his grandmother asking his father, knowing full well that Page was in the room.\u003c/p>\n\u003cp>At six years old, when Page asked his mom if he could be a boy, she matter-of-factly responded: “No, hon, you can’t, you’re a girl … But you can do anything a boy can do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That same conversation between parent and child might play out a little differently in the current climate, now that trans and gender non-conforming communities and issues are more visible than ever before. Then again, with legal attacks being waged on transgender rights across the country, perhaps it wouldn’t. What\u003cem> Pageboy\u003c/em> does very well over the course of its 29 chapters is hammer home the damage done — and the pain endured — by kids like Page who aren’t given the full support they need to be who they are from a young age.\u003c/p>\n\u003cp>\u003cem>Pageboy\u003c/em> flits back and forth in time, bouncing between various movie sets, awkward childhood moments and multiple relationships. The nonlinear structure can be dizzying (and not always successful), but if there is a theme that runs throughout the memoir, it’s of pain endured and survival fought for. And there is not a small amount of either here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Page describes navigating exploitation as a teen actor and being preyed on by multiple men and one woman on a variety of sets. He recounts his nerve-rattling experience with a stalker while just 16 years old. Turning 18, Page writes, didn’t improve his situation. Rather, it created “an unspoken permission slip I didn’t consent to” — a notion that won’t be lost on many girls and women reading.\u003c/p>\n\u003cfigure id=\"attachment_13930202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg\" alt=\"A book cover showing a youthful transgender man wearing blue jeans and a white tank top, and sitting in front of a red backdrop.\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1325x2048.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-scaled.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pageboy’ by Elliot Page. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dotted throughout are also Page’s painful memories of homophobic attacks, starting in adolescence and running well past the point of fame. After coming out in 2014, for example, Page was accosted at a party by “one of the most famous actors in the world.” This man, drunk at the time, unfurled a torrent of abuse on Page, telling him that he wasn’t really attracted to women, he was “just afraid of men.” In one particularly disturbing moment, the actor told Page “I’m going to fuck you to make you realize you aren’t gay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an enormous shame — and likely a legally prescribed one — that Page doesn’t name names here.\u003c/p>\n\u003cp>The party incident is not the only time Page doesn’t point fingers as directly as I wish he could. Page writes extensively of a closeted actress that he met while making a movie together. They had a prolonged secret affair that ended in heartbreak for Page — a pain made worse by running into her at a party while she was on a date with a man. I would be lying if I said I didn’t go straight to IMDB to try and figure out which costar Page was describing. (I failed.)\u003c/p>\n\u003cp>Thankfully, it’s much easier to discern which “world-renowned photographer” once gave Page a hard time at a magazine shoot. Based on the clues in the story, it’s almost certainly about a \u003cem>Vanity Fair\u003c/em> shoot with Annie Liebovitz in which Page was forced to don a tight blue dress and red heels. Looking back at the photos now, it’s impossible not to notice \u003ca href=\"https://www.searchlightpictures.com/news/ellen-on-ew-and-vanity-fair-covers-kimya-on-abc/\">his defeated slump\u003c/a>.\u003c/p>\n\u003cp>What makes reading all of the hardships in \u003cem>Pageboy\u003c/em> bearable are the passages celebrating the relief of slowly finding the strength and support to be his authentic self. Describing his coming out in 2014, Page’s newfound feeling of liberation screams out from the page. (“I had a burgeoning sense of ease in the world, a confidence … This time of firsts and newfound boldness was also, unsurprisingly perhaps, the most promiscuous period of my life.”)\u003c/p>\n\u003cp>Similarly, the relief after Page’s first gender-affirming surgery is blissful to read after so many sections about fear and the struggle to come out as transgender. “Mark picked me up after the three-or-so-hour procedure,” Page relays in the book’s penultimate chapter. “He took a photo of me … high as fuck, wearing a black compression vest, my nipples just removed and slapped back on. The smile on my face, in my eyes, the degree of contentment glowing off me, phew.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Pageboy\u003c/em> is not always an easy read. But there is a blunt honesty in Page’s writing that makes this memoir an important testimony, especially for queer and gender non-conforming kids, that things can and do get better. In many ways, the most painful periods of Page’s life stand as a testament to what happens to people unable to live as they wish and love who they want. Having endured years in the public eye while closeted, and experienced homophobia since coming out, Page has an unflinching clarity about which one was worse.\u003c/p>\n\u003cp>“I’d rather feel pain while living,” Page asserts in Chapter 8, “than hiding.”\u003c/p>\n\u003cp>Amen to that.\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>‘Pageboy’ by Elliot Page is out now, via \u003ca href=\"https://www.flatironbooks.com/\">Flatiron Books\u003c/a>. Page will be appearing at San Francisco’s Sydney Goldstein Theater (275 Hayes St.) as part of the City Arts & Lectures series, on Saturday, June 10, 2023 at 7:30pm. A recording of the event will be broadcast on KQED on Aug. 6, 2023. \u003ca href=\"https://www.cityarts.net/event/elliot-page/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't Hollywood Get Pop Stardom Right?",
"headTitle": "Why Can’t Hollywood Get Pop Stardom Right? | KQED",
"content": "\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>[aside postid='arts_13891785']She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVYUKxF0wMc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMCYE9hKP68\u003c/p>\n\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rieoWn9BdrQ\u003c/p>\n\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSbzyEJ8X9E\u003c/p>\n\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>[aside postid='pop_112407']There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>[aside postid='arts_13909218']Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\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=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xVYUKxF0wMc'\n title='//www.youtube.com/embed/xVYUKxF0wMc'\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>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\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/fMCYE9hKP68'\n title='//www.youtube.com/embed/fMCYE9hKP68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\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/rieoWn9BdrQ'\n title='//www.youtube.com/embed/rieoWn9BdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\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/nSbzyEJ8X9E'\n title='//www.youtube.com/embed/nSbzyEJ8X9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\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=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"link": "/radio/program/planet-money",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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