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"content": "\u003cp>A slate of big-budget summer movies from \u003cem>Indiana Jones and the Dial of Destiny\u003c/em> to a live-action \u003cem>Barbie\u003c/em> film will be released in the coming weeks as Hollywood gears up for blockbuster season. But behind the scenes, as the Hollywood writers strike enters its third month, the impact of the current conflict between screenwriters and major film studios and streamers is coming into focus. Most productions have ground to a halt as future films and TV series are being delayed, if not canceled.\u003c/p>\n\u003cp>One of the most high-profile productions canceled by the strike is a \u003ca href=\"https://www.indiewire.com/news/breaking-news/sam-esmail-metropolis-series-scrapped-1234876313/\">new TV adaptation of Fritz Lang’s classic 1927 sci-fi film \u003cem>Metropolis\u003c/em>\u003c/a>. Apple TV+ reportedly scrapped acclaimed showrunner Sam Esmail’s years-in-the-making series just as it was supposed to begin filming this summer in Australia. Max’s new Batman spin-off series, \u003cem>The Penguin,\u003c/em> starring Colin Farrell, has also been halted, even through a teaser for the show had been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAPifwlWBP0\u003c/p>\n\u003cp>With many writers on the picket lines no longer participating in any scripting or revisions, many existing series are no longer filming. Shooting for the next season of the \u003cem>Yellowstone\u003c/em> prequel 1\u003cem>923\u003c/em> on Paramount+, starring Harrison Ford and Helen Mirren, has been suspended until the writers strike ends. Other popular shows that are not currently filming include future seasons of \u003cem>Severance\u003c/em>, \u003cem>Abbott Elementary\u003c/em>, \u003cem>Euphoria\u003c/em>, \u003cem>The Last of Us\u003c/em>, \u003cem>Cobra Kai\u003c/em> and the final season of Netflix’s \u003cem>Stranger Things\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/strangerwriters/status/1654955071631765506\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the delays aren’t all necessarily due to the strike. In recent months, studios and streamers have been consolidating and cutting costs through layoffs and cancelations. Some insiders speculate the studios may use the strike as an excuse to enact “force majeure,” contract clauses allowing them to cancel deals with creators and showrunners.\u003c/p>\n\u003cp>[aside postid='arts_13930931']It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>[aside postid='arts_13928702']The Emmy Awards, which are set to air on FOX in September, could be delayed for months. \u003ca href=\"https://www.nytimes.com/2023/06/21/business/media/emmy-awards-writers-strike.html?partner=slack&smid=sl-share\">Reports in \u003cem>The New York Times\u003c/em>\u003c/a>, \u003cem>The Hollywood Reporter\u003c/em> and other outlets suggest the organizers are discussing various contingency plans if the writers strike isn’t resolved this summer. Nominations are still scheduled to be announced Tuesday, July 12.\u003c/p>\n\u003cp>To manage the personal financial costs of a prolonged strike, many writers on the picket lines say they are relying on their fast-dwindling savings. Industry guilds, the Entertainment Community Fund, Women in Film and others have created emergency relief funds to support members.\u003c/p>\n\u003cp>https://twitter.com/jonhurwitz/status/1657094421396201473\u003c/p>\n\u003cp>The shutdowns are also impacting many others working behind the scenes on film crews, including cinematographers, editors, grips, costumers, caterers and truck drivers. According to Film LA, which handles permits for film shoots on city streets and other locations, there were only two scripted TV series shooting in Los Angeles this week. Normally at this time of year, there would be dozens of TV projects in production.\u003c/p>\n\u003cp>[aside postid='arts_13930083']The work stoppage affects many businesses that rely on the Hollywood economy, including restaurants, hotels and transportation. According to the Milken Institute, the 2008 writers strike, which lasted 100 days, cost the LA economy more than $2 billion in lost revenue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For audiences accustomed to a steady — and at times overflowing — stream of new films and TV series, this dramatic slowdown in productions will have a palpable impact in the year to come.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+coming+to+a+screen+near+you+%E2%80%93+viewers+will+soon+feel+effects+of+the+writers+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>When producers of \u003cem>Wheel of Fortune\u003c/em> named Ryan Seacrest — probably the most ubiquitous man on entertainment television — as its next host this week, it surprised virtually no one.\u003c/p>\n\u003cp>[aside postid='arts_13907974']The idea that Sony Pictures Television would appoint someone relatively unknown as the figurehead of one of its most valuable properties was far-fetched. But it wasn’t always that way for a genre of television that minted such celebrities like late \u003cem>Jeopardy!\u003c/em> host Alex Trebek, Bob Barker of \u003cem>The Price is Right\u003c/em> and current \u003cem>Wheel of Fortune\u003c/em> emcee Pat Sajak.\u003c/p>\n\u003cp>With Sajak’s impending retirement, after the show’s next season, it’s the end of an era: Game shows are now the provenance of the already famous.\u003c/p>\n\u003ch2>Why is Pat Sajak the last of his breed?\u003c/h2>\n\u003cp>Back in 1984, a much younger Sajak was pictured on the cover of \u003cem>TV Guide\u003c/em> alongside Wink Martindale, Monty Hall, Bill Cullen, Jack Barry and Barker.\u003c/p>\n\u003cp>[aside postid='arts_3901062']Each of the other men was known primarily as broadcast television game show hosts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, so is Sajak. He has a handful of other entries on his resume, disc jockey (many of his ilk also got their start in radio) and television weatherman among them. But he was 35 years old when he started hosting \u003cem>Wheel of Fortune\u003c/em> and will be 77 when he leaves next year. He’ll be forever known for standing onstage at the wheel, with Vanna White at the board.\u003c/p>\n\u003cfigure id=\"attachment_13931006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png\" alt=\"An attractive blonde woman in a red dress and heels stands, hand on hip, next to a senior man wearing a suit. The ‘Wheel of Fortune’ logo is displayed on a screen behind them.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM.png 1374w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanna White, left, and Pat Sajak, host of ‘Wheel of Fortune.’ \u003ccite>(Carol Kaelson/CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s kind of the last of the old school,” said Adam Nedeff, author and researcher for the National Archive of Game Show History at the Strong National Museum of Play in Rochester, New York.\u003c/p>\n\u003cp>Game shows were once shown live, or taped with hardly any interruptions, so the skill of an experienced broadcaster used to those conditions was prized, Nedeff said. Dick Clark would need it when taping 10 episodes of \u003cem>The 10,000 Pyramid\u003c/em> in a day.\u003c/p>\n\u003cp>Trebek similarly had a strong pedigree of television hosting, much of it in Canada, before he became host of \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003ch2>Where’s the pipeline now?\u003c/h2>\n\u003cp>Game shows were once a mainstay of daytime broadcast television, the land of the unhip, but are much less common today. The Game Show Network and Buzzr exist on cable for aficionados, but are heavy on reruns of the classics.\u003c/p>\n\u003cp>And, let’s be honest, who watches, anyway? To create interest in game shows these days, producers look for a name. That makes actors, comics or other celebrities attractive to front these shows (some of which have nevertheless been canceled) — people like Drew Carey (\u003cem>The Price Is Right\u003c/em>), Howie Mandel (\u003cem>Deal or No Deal\u003c/em>), Meredith Vieira (\u003cem>Who Wants to be a Millionaire?\u003c/em>), Wayne Brady (\u003cem>Let’s Make a Deal\u003c/em>), Steve Harvey (\u003cem>Family Feud\u003c/em>), Alec Baldwin (\u003cem>Match Game\u003c/em>), Michael Strahan (\u003cem>The $100,000 Pyramid\u003c/em>) and Mayim Bialik (\u003cem>Jeopardy!\u003c/em>). Ken Jennings wasn’t an actor, but any fan of \u003cem>Jeopardy!\u003c/em> knew who he was.\u003c/p>\n\u003cfigure id=\"attachment_13931007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931007\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png\" alt=\"A woman and man sit opposite each other in red chairs in the middle of a game show set. A Black man in a suit leans in next to them.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM.png 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Strahan, left, with contestants on ‘The $100,000 Pyramid.’ \u003ccite>(Christopher Willard/ ABC via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have a generation of stars who grew up watching game shows,” Nedeff said. “We have just reached a point where nobody sees any shame in hosting a game show.”\u003c/p>\n\u003cp>No one considers a game show low-rent anymore.\u003c/p>\n\u003ch2>And why should they?\u003c/h2>\n\u003cp>Seriously. Trebek would tape two weeks’ worth of shows over two days. There’s only 52 weeks a year, and that didn’t count the show’s vacation periods, for a salary most of us couldn’t conceive of.\u003c/p>\n\u003cp>[aside postid='arts_13901062']Carey replaced Barker on \u003cem>The Price is Right\u003c/em> in 2007. Soon, many viewers will know him as a game show host instead of an actor and comedian, if they don’t already.\u003c/p>\n\u003ch2>Why would he leave?\u003c/h2>\n\u003cp>Such relatively easy money is why a job like \u003cem>Wheel of Fortune\u003c/em> is coveted; Whoopi Goldberg openly campaigned for the job. And it’s behind the request Jamie Foxx surprised his management with in the 2010s.\u003c/p>\n\u003cp>“Years ago, I was telling my agent, I said, ‘Man, you gotta get a game show,’” Foxx told \u003cem>The Associated Press\u003c/em> in 2019. He succeeded with \u003cem>Beat Shazam\u003c/em>, on the Fox network. Foxx got a payday, and Fox got a bankable star to entice viewers to a new game.\u003c/p>\n\u003cp>Several game shows air in prime time now. Even if networks offer a big check to a star like Foxx, it’s nothing like paying for the writers, directors and actors of a scripted series (to remind you, said writers are now on strike).\u003c/p>\n\u003cfigure id=\"attachment_13931008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png\" alt=\"A woman with glasses and long brown hair stands smiling next to an electronic board displaying the ‘Jeopardy!’ logo. She is wearing a yellow dress and beige suit jacket and clasping her hands together.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM.png 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayim Bialik hosting ‘Jeopardy!’ in 2022. \u003ccite>(Tyler Golden/ CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly enough, Seacrest’s career path resembles some of the old-time hosts. Merv Griffin, the legendary game show impresario, even offered him a job hosting a quiz game show for kids when Seacrest was only 23, Nedeff said. Seacrest has experience as a disc jockey, a talk show host, a New Year’s Eve concertmaster and as the longtime host of \u003cem>American Idol\u003c/em>, once television’s biggest sensation.\u003c/p>\n\u003cp>[aside postid='arts_13921866']Unlike many game show hosts of yesteryear, he’s already a celebrity in his own right. \u003cem>Wheel of Fortune\u003c/em> is an empire Sony needs to protect: not just a television show, but video games, a casino game, a live show and an online merchandise store complete with a \u003cem>Wheel\u003c/em> umbrella and silver tote bag.\u003c/p>\n\u003cp>Seacrest, to be sure, is highly unlikely to muck that up.\u003c/p>\n\u003cp>The 48-year-old’s reward is a job he can surely count on as long as he wants to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "“A generation of stars have just reached a point where nobody sees any shame in hosting a game show,” says author Adam Nedeff.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers of \u003cem>Wheel of Fortune\u003c/em> named Ryan Seacrest — probably the most ubiquitous man on entertainment television — as its next host this week, it surprised virtually no one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The idea that Sony Pictures Television would appoint someone relatively unknown as the figurehead of one of its most valuable properties was far-fetched. But it wasn’t always that way for a genre of television that minted such celebrities like late \u003cem>Jeopardy!\u003c/em> host Alex Trebek, Bob Barker of \u003cem>The Price is Right\u003c/em> and current \u003cem>Wheel of Fortune\u003c/em> emcee Pat Sajak.\u003c/p>\n\u003cp>With Sajak’s impending retirement, after the show’s next season, it’s the end of an era: Game shows are now the provenance of the already famous.\u003c/p>\n\u003ch2>Why is Pat Sajak the last of his breed?\u003c/h2>\n\u003cp>Back in 1984, a much younger Sajak was pictured on the cover of \u003cem>TV Guide\u003c/em> alongside Wink Martindale, Monty Hall, Bill Cullen, Jack Barry and Barker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each of the other men was known primarily as broadcast television game show hosts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, so is Sajak. He has a handful of other entries on his resume, disc jockey (many of his ilk also got their start in radio) and television weatherman among them. But he was 35 years old when he started hosting \u003cem>Wheel of Fortune\u003c/em> and will be 77 when he leaves next year. He’ll be forever known for standing onstage at the wheel, with Vanna White at the board.\u003c/p>\n\u003cfigure id=\"attachment_13931006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png\" alt=\"An attractive blonde woman in a red dress and heels stands, hand on hip, next to a senior man wearing a suit. The ‘Wheel of Fortune’ logo is displayed on a screen behind them.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM.png 1374w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanna White, left, and Pat Sajak, host of ‘Wheel of Fortune.’ \u003ccite>(Carol Kaelson/CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s kind of the last of the old school,” said Adam Nedeff, author and researcher for the National Archive of Game Show History at the Strong National Museum of Play in Rochester, New York.\u003c/p>\n\u003cp>Game shows were once shown live, or taped with hardly any interruptions, so the skill of an experienced broadcaster used to those conditions was prized, Nedeff said. Dick Clark would need it when taping 10 episodes of \u003cem>The 10,000 Pyramid\u003c/em> in a day.\u003c/p>\n\u003cp>Trebek similarly had a strong pedigree of television hosting, much of it in Canada, before he became host of \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003ch2>Where’s the pipeline now?\u003c/h2>\n\u003cp>Game shows were once a mainstay of daytime broadcast television, the land of the unhip, but are much less common today. The Game Show Network and Buzzr exist on cable for aficionados, but are heavy on reruns of the classics.\u003c/p>\n\u003cp>And, let’s be honest, who watches, anyway? To create interest in game shows these days, producers look for a name. That makes actors, comics or other celebrities attractive to front these shows (some of which have nevertheless been canceled) — people like Drew Carey (\u003cem>The Price Is Right\u003c/em>), Howie Mandel (\u003cem>Deal or No Deal\u003c/em>), Meredith Vieira (\u003cem>Who Wants to be a Millionaire?\u003c/em>), Wayne Brady (\u003cem>Let’s Make a Deal\u003c/em>), Steve Harvey (\u003cem>Family Feud\u003c/em>), Alec Baldwin (\u003cem>Match Game\u003c/em>), Michael Strahan (\u003cem>The $100,000 Pyramid\u003c/em>) and Mayim Bialik (\u003cem>Jeopardy!\u003c/em>). Ken Jennings wasn’t an actor, but any fan of \u003cem>Jeopardy!\u003c/em> knew who he was.\u003c/p>\n\u003cfigure id=\"attachment_13931007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931007\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png\" alt=\"A woman and man sit opposite each other in red chairs in the middle of a game show set. A Black man in a suit leans in next to them.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM.png 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Strahan, left, with contestants on ‘The $100,000 Pyramid.’ \u003ccite>(Christopher Willard/ ABC via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have a generation of stars who grew up watching game shows,” Nedeff said. “We have just reached a point where nobody sees any shame in hosting a game show.”\u003c/p>\n\u003cp>No one considers a game show low-rent anymore.\u003c/p>\n\u003ch2>And why should they?\u003c/h2>\n\u003cp>Seriously. Trebek would tape two weeks’ worth of shows over two days. There’s only 52 weeks a year, and that didn’t count the show’s vacation periods, for a salary most of us couldn’t conceive of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carey replaced Barker on \u003cem>The Price is Right\u003c/em> in 2007. Soon, many viewers will know him as a game show host instead of an actor and comedian, if they don’t already.\u003c/p>\n\u003ch2>Why would he leave?\u003c/h2>\n\u003cp>Such relatively easy money is why a job like \u003cem>Wheel of Fortune\u003c/em> is coveted; Whoopi Goldberg openly campaigned for the job. And it’s behind the request Jamie Foxx surprised his management with in the 2010s.\u003c/p>\n\u003cp>“Years ago, I was telling my agent, I said, ‘Man, you gotta get a game show,’” Foxx told \u003cem>The Associated Press\u003c/em> in 2019. He succeeded with \u003cem>Beat Shazam\u003c/em>, on the Fox network. Foxx got a payday, and Fox got a bankable star to entice viewers to a new game.\u003c/p>\n\u003cp>Several game shows air in prime time now. Even if networks offer a big check to a star like Foxx, it’s nothing like paying for the writers, directors and actors of a scripted series (to remind you, said writers are now on strike).\u003c/p>\n\u003cfigure id=\"attachment_13931008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png\" alt=\"A woman with glasses and long brown hair stands smiling next to an electronic board displaying the ‘Jeopardy!’ logo. She is wearing a yellow dress and beige suit jacket and clasping her hands together.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM.png 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayim Bialik hosting ‘Jeopardy!’ in 2022. \u003ccite>(Tyler Golden/ CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly enough, Seacrest’s career path resembles some of the old-time hosts. Merv Griffin, the legendary game show impresario, even offered him a job hosting a quiz game show for kids when Seacrest was only 23, Nedeff said. Seacrest has experience as a disc jockey, a talk show host, a New Year’s Eve concertmaster and as the longtime host of \u003cem>American Idol\u003c/em>, once television’s biggest sensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unlike many game show hosts of yesteryear, he’s already a celebrity in his own right. \u003cem>Wheel of Fortune\u003c/em> is an empire Sony needs to protect: not just a television show, but video games, a casino game, a live show and an online merchandise store complete with a \u003cem>Wheel\u003c/em> umbrella and silver tote bag.\u003c/p>\n\u003cp>Seacrest, to be sure, is highly unlikely to muck that up.\u003c/p>\n\u003cp>The 48-year-old’s reward is a job he can surely count on as long as he wants to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M",
"headTitle": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M | KQED",
"content": "\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yixG8pfncOs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>[aside postid='pop_50308']The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>[aside postid='pop_103268']The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yixG8pfncOs'\n title='//www.youtube.com/embed/yixG8pfncOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’",
"headTitle": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’ | KQED",
"content": "\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>[aside postid='arts_13930807']Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQfMbSe7F2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>[aside postid='arts_13930502']This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>[aside postid='arts_13883486']I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQfMbSe7F2g'\n title='//www.youtube.com/embed/eQfMbSe7F2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After the BET Awards, a Look Back at How the Network Helped Hip-Hop Grow",
"headTitle": "After the BET Awards, a Look Back at How the Network Helped Hip-Hop Grow | KQED",
"content": "\u003cp>\u003cem>Rap City. 106 & Park\u003c/em>. And even, \u003cem>Uncut\u003c/em>.\u003c/p>\n\u003cp>From innovative to provocative, BET has played a crucial role in creating several influential programs that helped spread hip-hop to millions of homes across the globe. Other than its rival show \u003cem>Yo! MTV Raps\u003c/em>, the network known as Black Entertainment Television took up the mantle — despite some reluctance — to showcase a misunderstood rap culture decades before it became today’s most popular music genre.\u003c/p>\n\u003cp>[aside postid='arts_13929900']For many, BET became a safe place for those within hip-hop to express their artistry, although not without criticism. Through it all, the network has been a mainstay for established and emerging rap artists.\u003c/p>\n\u003cp>It all came together during the BET Awards on Sunday. Show officials celebrated the genre’s 50th anniversary during the telecast dubbed as a “non-stop Hip-Hop Party.” It also comes at a pivotal time for the network, which will be soon be sold. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen and rapper-entrepreneur Diddy, are interested in purchasing the network.\u003c/p>\n\u003cp>The new owner will acquire an important cultural fixture, one whose success was partially built on how it elevated hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13930909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg\" alt=\"An attractive middle-aged Black man smiles on a red carpet. He is wearing black-rimmed glasses and a tuxedo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Perry in 2022. The entrepreneur has expressed an interest in purchasing BET. \u003ccite>(Axelle/Bauer-Griffin/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“BET was a big platform for hip-hop and urban music overall,” said E-40. His song “Tired of Being Stepped On” with the rap group The Click appeared on BET’s \u003cem>Video Soul,\u003c/em> which was created in 1981 at a time when MTV refused to play videos by most African Americans. The rapper recalled how guest host Jamie Foxx dissed The Click’s song but the comedian’s critical words didn’t faze him. He felt his group gained important exposure to promote their “unorthodox” West Coast rap style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The network really stepped up. We needed that,” said E-40, who also made a few appearances on another BET show called \u003cem>Rap City\u003c/em>, which featured hip-hop music videos, interviews and freestyles booth sessions with big names including Jay-Z, Lil Wayne and MC Lyte. The show, which highlighted popular and up-and-coming rappers, became the longest-running hip-hop TV show in history.\u003cbr>\nE-40 credited BET founder Robert Johnson for giving hip-hop a chance. Johnson built the brand into the leading TV network for Black Americans in hopes of creating content geared toward jazz, comedy and gospel. But at the time, he and other founders were unsure about featuring a rap show, believing the genre would be short lived.\u003c/p>\n\u003cp>Rival MTV’s \u003cem>Yo! MTV Raps\u003c/em>, however, showed that hip-hop had staying power.\u003c/p>\n\u003cfigure id=\"attachment_13930910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg\" alt=\"A rapper performs on stage with a small crowd behind him. He wears a bucket hat, sunglasses and large gold medallion.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at the 2023 BET Awards in Los Angeles. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO.\u003c/p>\n\u003cp>“They rapidly embraced hip-hop as part of the mission of BET,” he said. “You went from BET having shows with no hip-hop artists or music to artists and music starting to trickle through shows to this full evolution of creating dedicated shows, celebrating hip-hop music, artists and culture.”\u003c/p>\n\u003cp>[aside postid='arts_13927349']BET’s decision to embrace hip-hop literally paid off: Johnson and his then-wife, Sheila, sold the network to Viacom in 2000 for $3 billion — which made them the nation’s first Black billionaires. He remained CEO until 2006.\u003c/p>\n\u003cp>After the sale, BET continued to beef up its content with reality shows and the network’s flagship program \u003cem>106 & Park\u003c/em>, a weekday show that started in 2000 and lasted for more than a decade. The show thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards then the BET Hip-Hop Awards.\u003c/p>\n\u003cp>For Lil Jon, he certainly benefitted from appearing on \u003cem>106 & Park\u003c/em>. One day, the rapper-producer joined the show’s audience during the time when he had a hard time getting music on BET.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9BeuGfuFIA8\u003c/p>\n\u003cp>Lil Jon had no clue \u003cem>106 & Park\u003c/em> co-host A.J. Calloway would notice him sitting in the crowd before he shouted out his name. The exposure helped him become more recognizable, particularly to the BET brass — who he says initially struggled to grasp the concept of his crunk music, which eventually gained mainstream appeal.\u003c/p>\n\u003cp>“We strived to be on \u003cem>Rap City.\u003c/em> We strived to be on \u003cem>106 & Park\u003c/em>,” Lil Jon said. “A.J. knew who I was, because he would go to the South and host things. He knew the power of my music … They would show me in the audience throughout the whole show. It was what they call an impression in the advertising world. It was a way for me to be around people at BET. They started to see and get familiar with me, and they wanted to look out for me. BET was just a place where we would get support from our community.”\u003c/p>\n\u003cp>[aside postid='arts_13929861']Like Lil Jon, other hip-hop artists took advantage of the exposure from BET — which often highlighted positive images of Black people through shows such as \u003cem>Teen Summit\u003c/em> and \u003cem>106 & Park\u003c/em>. But in the early-2000s, the network started to take an odd turn as several popular figures — from filmmaker Spike Lee to Public Enemy’s Chuck D — heavily criticized the channel’s content for depicting African Americans in a negative light.\u003c/p>\n\u003cp>Many took aim at the now-defunct \u003cem>BET: Uncut\u003c/em>, a late-night mature program that contained highly sexual content such as Ludacris’ “Booty Poppin” music video. The tipping point came after Nelly’s “Tip Drill” video featured women simulating sex acts with themselves while men grabbed their bodies.\u003c/p>\n\u003cp>\u003cem>Uncut\u003c/em> normally finished airing early Sunday just hours before the network’s faith-based programs began.\u003c/p>\n\u003cp>At the time, Big Boi of Outkast was taken aback by some of the raunchy content, calling it “distasteful” and “soft porn.” Other political figures and activists showed their displeasure. Co-founder Sheila Johnson even said in a 2010 interview that she was ashamed of BET, suggesting that no one, including her own children, should watch the channel.\u003c/p>\n\u003cp>After the backlash, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as \u003cem>Reed Between the Lines\u003c/em> and \u003cem>Let’s\u003c/em> \u003cem>Stay Together\u003c/em>.\u003c/p>\n\u003cp>“If you look at it, hip-hop is like a huge family,” said Roxanne Shante. “You’re going to have family members that do things that’s necessarily not my thing.”\u003c/p>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But who am I to criticize what they go through? It’s a form of expression,” said the “Roxanne’s Revenge” rapper. “I think BET has shown its ability to go with that form of expression. Now, people are expressing themselves in a different way. And now, they cater to a different audience and started to show different programming.”\u003c/p>\n\u003cp>[aside postid='arts_13925931']Despite controversy, Mills said a symbolic relationship was kept between BET and the hip-hop community. He said the network has a chance to break new artists through the BET Hip-Hop Awards while showcasing the more popular ones at the BET Awards. He shouted out veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards this year.\u003c/p>\n\u003cp>“When you look at artists today, they’re profoundly talented,” he said. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”\u003c/p>\n\u003cp>Mills said BET is exploring ways to bring back \u003cem>106 & Park\u003c/em> as a possible residency live show.\u003c/p>\n\u003cp>With a new buyer looking to purchase BET soon, the network’s future focus and how much it emphasizes hip-hop will be closely watched.\u003c/p>\n\u003cfigure id=\"attachment_13930912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg\" alt=\"A bald Black man stands on a red carpet wearing white pants and a polo jersey. He is clasping his hands together.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short arrives at the 2023 BET Awards in Los Angeles. \u003ccite>(Aaron J. Thornton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapper Too Short said BET should continue to serve the Black community’s needs.\u003c/p>\n\u003cp>“\u003cem>Teen Summit\u003c/em> was the best show ever,” he said. “Just for kids to sit there and have an intellectual conversation every Saturday morning. That was amazing to see Black kids thinking intelligently and debating with each other and an audience tapping in.\u003c/p>\n\u003cp>“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Rap City. 106 & Park\u003c/em>. And even, \u003cem>Uncut\u003c/em>.\u003c/p>\n\u003cp>From innovative to provocative, BET has played a crucial role in creating several influential programs that helped spread hip-hop to millions of homes across the globe. Other than its rival show \u003cem>Yo! MTV Raps\u003c/em>, the network known as Black Entertainment Television took up the mantle — despite some reluctance — to showcase a misunderstood rap culture decades before it became today’s most popular music genre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For many, BET became a safe place for those within hip-hop to express their artistry, although not without criticism. Through it all, the network has been a mainstay for established and emerging rap artists.\u003c/p>\n\u003cp>It all came together during the BET Awards on Sunday. Show officials celebrated the genre’s 50th anniversary during the telecast dubbed as a “non-stop Hip-Hop Party.” It also comes at a pivotal time for the network, which will be soon be sold. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen and rapper-entrepreneur Diddy, are interested in purchasing the network.\u003c/p>\n\u003cp>The new owner will acquire an important cultural fixture, one whose success was partially built on how it elevated hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13930909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg\" alt=\"An attractive middle-aged Black man smiles on a red carpet. He is wearing black-rimmed glasses and a tuxedo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Perry in 2022. The entrepreneur has expressed an interest in purchasing BET. \u003ccite>(Axelle/Bauer-Griffin/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“BET was a big platform for hip-hop and urban music overall,” said E-40. His song “Tired of Being Stepped On” with the rap group The Click appeared on BET’s \u003cem>Video Soul,\u003c/em> which was created in 1981 at a time when MTV refused to play videos by most African Americans. The rapper recalled how guest host Jamie Foxx dissed The Click’s song but the comedian’s critical words didn’t faze him. He felt his group gained important exposure to promote their “unorthodox” West Coast rap style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The network really stepped up. We needed that,” said E-40, who also made a few appearances on another BET show called \u003cem>Rap City\u003c/em>, which featured hip-hop music videos, interviews and freestyles booth sessions with big names including Jay-Z, Lil Wayne and MC Lyte. The show, which highlighted popular and up-and-coming rappers, became the longest-running hip-hop TV show in history.\u003cbr>\nE-40 credited BET founder Robert Johnson for giving hip-hop a chance. Johnson built the brand into the leading TV network for Black Americans in hopes of creating content geared toward jazz, comedy and gospel. But at the time, he and other founders were unsure about featuring a rap show, believing the genre would be short lived.\u003c/p>\n\u003cp>Rival MTV’s \u003cem>Yo! MTV Raps\u003c/em>, however, showed that hip-hop had staying power.\u003c/p>\n\u003cfigure id=\"attachment_13930910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg\" alt=\"A rapper performs on stage with a small crowd behind him. He wears a bucket hat, sunglasses and large gold medallion.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at the 2023 BET Awards in Los Angeles. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO.\u003c/p>\n\u003cp>“They rapidly embraced hip-hop as part of the mission of BET,” he said. “You went from BET having shows with no hip-hop artists or music to artists and music starting to trickle through shows to this full evolution of creating dedicated shows, celebrating hip-hop music, artists and culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>BET’s decision to embrace hip-hop literally paid off: Johnson and his then-wife, Sheila, sold the network to Viacom in 2000 for $3 billion — which made them the nation’s first Black billionaires. He remained CEO until 2006.\u003c/p>\n\u003cp>After the sale, BET continued to beef up its content with reality shows and the network’s flagship program \u003cem>106 & Park\u003c/em>, a weekday show that started in 2000 and lasted for more than a decade. The show thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards then the BET Hip-Hop Awards.\u003c/p>\n\u003cp>For Lil Jon, he certainly benefitted from appearing on \u003cem>106 & Park\u003c/em>. One day, the rapper-producer joined the show’s audience during the time when he had a hard time getting music on BET.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9BeuGfuFIA8'\n title='//www.youtube.com/embed/9BeuGfuFIA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lil Jon had no clue \u003cem>106 & Park\u003c/em> co-host A.J. Calloway would notice him sitting in the crowd before he shouted out his name. The exposure helped him become more recognizable, particularly to the BET brass — who he says initially struggled to grasp the concept of his crunk music, which eventually gained mainstream appeal.\u003c/p>\n\u003cp>“We strived to be on \u003cem>Rap City.\u003c/em> We strived to be on \u003cem>106 & Park\u003c/em>,” Lil Jon said. “A.J. knew who I was, because he would go to the South and host things. He knew the power of my music … They would show me in the audience throughout the whole show. It was what they call an impression in the advertising world. It was a way for me to be around people at BET. They started to see and get familiar with me, and they wanted to look out for me. BET was just a place where we would get support from our community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like Lil Jon, other hip-hop artists took advantage of the exposure from BET — which often highlighted positive images of Black people through shows such as \u003cem>Teen Summit\u003c/em> and \u003cem>106 & Park\u003c/em>. But in the early-2000s, the network started to take an odd turn as several popular figures — from filmmaker Spike Lee to Public Enemy’s Chuck D — heavily criticized the channel’s content for depicting African Americans in a negative light.\u003c/p>\n\u003cp>Many took aim at the now-defunct \u003cem>BET: Uncut\u003c/em>, a late-night mature program that contained highly sexual content such as Ludacris’ “Booty Poppin” music video. The tipping point came after Nelly’s “Tip Drill” video featured women simulating sex acts with themselves while men grabbed their bodies.\u003c/p>\n\u003cp>\u003cem>Uncut\u003c/em> normally finished airing early Sunday just hours before the network’s faith-based programs began.\u003c/p>\n\u003cp>At the time, Big Boi of Outkast was taken aback by some of the raunchy content, calling it “distasteful” and “soft porn.” Other political figures and activists showed their displeasure. Co-founder Sheila Johnson even said in a 2010 interview that she was ashamed of BET, suggesting that no one, including her own children, should watch the channel.\u003c/p>\n\u003cp>After the backlash, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as \u003cem>Reed Between the Lines\u003c/em> and \u003cem>Let’s\u003c/em> \u003cem>Stay Together\u003c/em>.\u003c/p>\n\u003cp>“If you look at it, hip-hop is like a huge family,” said Roxanne Shante. “You’re going to have family members that do things that’s necessarily not my thing.”\u003c/p>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But who am I to criticize what they go through? It’s a form of expression,” said the “Roxanne’s Revenge” rapper. “I think BET has shown its ability to go with that form of expression. Now, people are expressing themselves in a different way. And now, they cater to a different audience and started to show different programming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite controversy, Mills said a symbolic relationship was kept between BET and the hip-hop community. He said the network has a chance to break new artists through the BET Hip-Hop Awards while showcasing the more popular ones at the BET Awards. He shouted out veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards this year.\u003c/p>\n\u003cp>“When you look at artists today, they’re profoundly talented,” he said. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”\u003c/p>\n\u003cp>Mills said BET is exploring ways to bring back \u003cem>106 & Park\u003c/em> as a possible residency live show.\u003c/p>\n\u003cp>With a new buyer looking to purchase BET soon, the network’s future focus and how much it emphasizes hip-hop will be closely watched.\u003c/p>\n\u003cfigure id=\"attachment_13930912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg\" alt=\"A bald Black man stands on a red carpet wearing white pants and a polo jersey. He is clasping his hands together.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short arrives at the 2023 BET Awards in Los Angeles. \u003ccite>(Aaron J. Thornton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapper Too Short said BET should continue to serve the Black community’s needs.\u003c/p>\n\u003cp>“\u003cem>Teen Summit\u003c/em> was the best show ever,” he said. “Just for kids to sit there and have an intellectual conversation every Saturday morning. That was amazing to see Black kids thinking intelligently and debating with each other and an audience tapping in.\u003c/p>\n\u003cp>“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Bear' Deftly Turns the 'CORNER!' Into Season 2",
"headTitle": "‘The Bear’ Deftly Turns the ‘CORNER!’ Into Season 2 | KQED",
"content": "\u003cp>It’s hard to maintain the level of enthusiasm that critics and audiences worked up over \u003cem>The Bear \u003c/em>last summer. The impeccably made story of Carmy (Jeremy Allen White), who takes over the family beef-sandwich shop after the death of his brother, not only had people chanting “Yes, chef,” but it brought attention to the whole company — particularly White, Ayo Edebiri as Carmy’s new sous chef, and Ebon Moss-Bachrach as Carmy’s cousin Richie, who worked in the shop for years while Carmy was off training for fine dining.\u003c/p>\n\u003cp>The second season arrived this week, and the bottom line is that it avoids just about every pitfall that second seasons can encounter. It’s one of the most successful follow-ups I can remember to a first season that generated this much heat.\u003c/p>\n\u003cp>[aside postid='arts_13930637']\u003cem>The Bear \u003c/em>is still Carmy’s story at heart, but rather than intensify its focus on him (particularly in the wake of the perhaps unanticipated levels of pure erotic enthusiasm that White generated), Season 2 widens its attention to the ensemble even more than before. Sydney has her own stories, Richie has his — but so do the shop’s longtime cook Tina (Liza Colón-Zayas), pastry chef Marcus (Lionel Boyce), and Carmy’s sister Natalie (Abby Elliott). It would have been easy for creator Christopher Storer and the rest of the team to “yes, chef” their way through this set of 10 new episodes, focusing on fan service and flexing the muscles of a show with a lot of goodwill on its side.\u003c/p>\n\u003cp>But they don’t do that at all. Instead, there are experiments with what Kathryn VanArendonk at \u003cem>Vulture\u003c/em> \u003ca href=\"https://www.vulture.com/article/last-of-us-long-long-time-bottle-departure-episode.html\">has helpfully termed\u003c/a> “departure episodes,” where you get a chance to explore what’s going on with a sharp focus on particular characters outside the most common settings and rhythms of the show — here, one example would be an episode where Marcus goes off to improve his skills and works with a chef played by Will Poulter. There are others; I wouldn’t dare spoil them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5U-w1yL4r0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the things the show does this season that I suspect will be differently received in different corners is its deployment of unpublicized guest stars — which goes back to Season 1 and the fact that it wasn’t publicized ahead of time that Jon Bernthal would be playing Carmy’s late brother Mikey in flashbacks. \u003cem>The Bear \u003c/em>has become, for lack of a more exact term, a very cool show, and it’s able to nail down some pretty impressive guest stars, most of whom you should encounter on your own (don’t read any of the lists that are circulating; consider them true spoilers).\u003c/p>\n\u003cp>But these don’t feel show-offy, like mere “hey, look who we can get now” demonstrations. \u003cem>The Bear \u003c/em>does a very, very smart thing with guest stars, which is that it uses people with big, well-established personas and reputations to play characters who loom large in the minds of characters we already know.\u003c/p>\n\u003cp>[aside postid='arts_13930048']Think of, for instance, when Marlon Brando played Superman’s father in the Christopher Reeve \u003cem>Superman \u003c/em>movie. (Stay with me.) The character of Jor-El needs to be big, important, indelible, the kind of person who could potentially bestow a superhuman upon Earth. So no matter what you think of the long and fairly ponderous Krypton sequence, it makes perfect sense that it’s Marlon Brando. If it were just Some Actor, would it really work the same way? It’s a fiction that actors ever really disappear into roles (with very rare exceptions). They bring with them your sense of who they are, and they hit additional notes just by being accompanied by their own history. (See: \u003ca href=\"https://www.npr.org/2016/09/09/493150297/in-sully-a-pilots-heroic-water-landing-and-its-real-life-fallout\">casting Tom Hanks as “Sully” Sullenberger\u003c/a>, the hero pilot, which did half the work in establishing Sullenberger as an outsize good-doer.)\u003c/p>\n\u003cp>When you watch \u003cem>The Bear \u003c/em>and you watch these performances, ask yourself whether the effect would be the same if it were a character actor you didn’t recognize. Not because there’s anything lacking in the skills of character actors, who make enormous contributions to this season of \u003cem>The Bear\u003c/em>, the last season of \u003cem>The Bear\u003c/em>, and television generally. But with these particular characters, as you watch, think about what it accomplishes to cast a familiar face rather than one that asks the audience to start from scratch.\u003c/p>\n\u003cfigure id=\"attachment_13930861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png\" alt=\"A young Black woman with long braids pulled back looks concerned while talking to a man close to her. She is wearing a man's white shirt with a black T-shirt underneath.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This season also finds the right balance between sticking with what works and immediately pushing the story forward. At the end of last season, we saw that Carmy and Sydney intended to close The Beef and open a new restaurant called The Bear. This season is … well, I was about to say it’s the Build-The-Bear Workshop, but I wouldn’t do that to you. It is, however, the story of building something new, and the focus on the new place means the show retains some of The Beef’s high pressure and hard work, but moves those rhythms to a very different process — the process of creating a restaurant rather than running one.\u003c/p>\n\u003cp>In doing so, \u003cem>The Bear \u003c/em>dispenses with any fantasy that just because Carmy’s staff is talented and capable, they could instantly pivot from a sandwich shop to fine dining without any adjustments. It respects the fact that they would need to develop some different skills — some of the ones that Carmy brought with him last season before he learned to master sandwich-shop life from them. We’ve seen Carmy barge into Richie’s world; we now see what might happen if Richie were transported into Carmy’s world. It makes use of the same complex characters and the same deeply developed relationships, but it also shakes up the specifics enough that you’d never mistake a scene from this run of episodes for a scene from the last. It was before, and it remains now, a show about \u003cem>work\u003c/em>, one that is about training and not just natural genius. People are allowed to fail, sometimes more than once, because learning is not magic; it is repetition, attention and persistence.\u003c/p>\n\u003cfigure id=\"attachment_13930863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png\" alt=\"A white man wearing blue t-shirt and black apron stands in a kitchen and pours a green liquid from a blender into a saucepan. Next to him is a Black man wearing the same outfit, plus a black beanie. Both men are deep in concentration.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM.png 1286w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Poulter, left, as Luca, and Lionel Boyce as Marcus. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have quibbles here and there — for one, there is a new character who appears as a potential love interest for Carmy who is not as developed as the rest of the characters on the show, which is a regrettably common problem with Potential Love Interest characters. And more than anything, I dearly wish this show were being put out week by week rather than all at once, because it is a perfect candidate for a degree of molecular dissection that, as something dropping all at once, it probably won’t get simply because of the nature of an all-episodes release.\u003c/p>\n\u003cp>[aside postid='arts_13928702']At the same time, I watched all 10 episodes in one day, so how can I complain?\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bear%27+deftly+turns+the+%27CORNER%21%27+into+Season+2&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to maintain the level of enthusiasm that critics and audiences worked up over \u003cem>The Bear \u003c/em>last summer. The impeccably made story of Carmy (Jeremy Allen White), who takes over the family beef-sandwich shop after the death of his brother, not only had people chanting “Yes, chef,” but it brought attention to the whole company — particularly White, Ayo Edebiri as Carmy’s new sous chef, and Ebon Moss-Bachrach as Carmy’s cousin Richie, who worked in the shop for years while Carmy was off training for fine dining.\u003c/p>\n\u003cp>The second season arrived this week, and the bottom line is that it avoids just about every pitfall that second seasons can encounter. It’s one of the most successful follow-ups I can remember to a first season that generated this much heat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Bear \u003c/em>is still Carmy’s story at heart, but rather than intensify its focus on him (particularly in the wake of the perhaps unanticipated levels of pure erotic enthusiasm that White generated), Season 2 widens its attention to the ensemble even more than before. Sydney has her own stories, Richie has his — but so do the shop’s longtime cook Tina (Liza Colón-Zayas), pastry chef Marcus (Lionel Boyce), and Carmy’s sister Natalie (Abby Elliott). It would have been easy for creator Christopher Storer and the rest of the team to “yes, chef” their way through this set of 10 new episodes, focusing on fan service and flexing the muscles of a show with a lot of goodwill on its side.\u003c/p>\n\u003cp>But they don’t do that at all. Instead, there are experiments with what Kathryn VanArendonk at \u003cem>Vulture\u003c/em> \u003ca href=\"https://www.vulture.com/article/last-of-us-long-long-time-bottle-departure-episode.html\">has helpfully termed\u003c/a> “departure episodes,” where you get a chance to explore what’s going on with a sharp focus on particular characters outside the most common settings and rhythms of the show — here, one example would be an episode where Marcus goes off to improve his skills and works with a chef played by Will Poulter. There are others; I wouldn’t dare spoil them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i5U-w1yL4r0'\n title='//www.youtube.com/embed/i5U-w1yL4r0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things the show does this season that I suspect will be differently received in different corners is its deployment of unpublicized guest stars — which goes back to Season 1 and the fact that it wasn’t publicized ahead of time that Jon Bernthal would be playing Carmy’s late brother Mikey in flashbacks. \u003cem>The Bear \u003c/em>has become, for lack of a more exact term, a very cool show, and it’s able to nail down some pretty impressive guest stars, most of whom you should encounter on your own (don’t read any of the lists that are circulating; consider them true spoilers).\u003c/p>\n\u003cp>But these don’t feel show-offy, like mere “hey, look who we can get now” demonstrations. \u003cem>The Bear \u003c/em>does a very, very smart thing with guest stars, which is that it uses people with big, well-established personas and reputations to play characters who loom large in the minds of characters we already know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Think of, for instance, when Marlon Brando played Superman’s father in the Christopher Reeve \u003cem>Superman \u003c/em>movie. (Stay with me.) The character of Jor-El needs to be big, important, indelible, the kind of person who could potentially bestow a superhuman upon Earth. So no matter what you think of the long and fairly ponderous Krypton sequence, it makes perfect sense that it’s Marlon Brando. If it were just Some Actor, would it really work the same way? It’s a fiction that actors ever really disappear into roles (with very rare exceptions). They bring with them your sense of who they are, and they hit additional notes just by being accompanied by their own history. (See: \u003ca href=\"https://www.npr.org/2016/09/09/493150297/in-sully-a-pilots-heroic-water-landing-and-its-real-life-fallout\">casting Tom Hanks as “Sully” Sullenberger\u003c/a>, the hero pilot, which did half the work in establishing Sullenberger as an outsize good-doer.)\u003c/p>\n\u003cp>When you watch \u003cem>The Bear \u003c/em>and you watch these performances, ask yourself whether the effect would be the same if it were a character actor you didn’t recognize. Not because there’s anything lacking in the skills of character actors, who make enormous contributions to this season of \u003cem>The Bear\u003c/em>, the last season of \u003cem>The Bear\u003c/em>, and television generally. But with these particular characters, as you watch, think about what it accomplishes to cast a familiar face rather than one that asks the audience to start from scratch.\u003c/p>\n\u003cfigure id=\"attachment_13930861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png\" alt=\"A young Black woman with long braids pulled back looks concerned while talking to a man close to her. She is wearing a man's white shirt with a black T-shirt underneath.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.06.27-AM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This season also finds the right balance between sticking with what works and immediately pushing the story forward. At the end of last season, we saw that Carmy and Sydney intended to close The Beef and open a new restaurant called The Bear. This season is … well, I was about to say it’s the Build-The-Bear Workshop, but I wouldn’t do that to you. It is, however, the story of building something new, and the focus on the new place means the show retains some of The Beef’s high pressure and hard work, but moves those rhythms to a very different process — the process of creating a restaurant rather than running one.\u003c/p>\n\u003cp>In doing so, \u003cem>The Bear \u003c/em>dispenses with any fantasy that just because Carmy’s staff is talented and capable, they could instantly pivot from a sandwich shop to fine dining without any adjustments. It respects the fact that they would need to develop some different skills — some of the ones that Carmy brought with him last season before he learned to master sandwich-shop life from them. We’ve seen Carmy barge into Richie’s world; we now see what might happen if Richie were transported into Carmy’s world. It makes use of the same complex characters and the same deeply developed relationships, but it also shakes up the specifics enough that you’d never mistake a scene from this run of episodes for a scene from the last. It was before, and it remains now, a show about \u003cem>work\u003c/em>, one that is about training and not just natural genius. People are allowed to fail, sometimes more than once, because learning is not magic; it is repetition, attention and persistence.\u003c/p>\n\u003cfigure id=\"attachment_13930863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png\" alt=\"A white man wearing blue t-shirt and black apron stands in a kitchen and pours a green liquid from a blender into a saucepan. Next to him is a Black man wearing the same outfit, plus a black beanie. Both men are deep in concentration.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-23-at-11.09.35-AM.png 1286w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Poulter, left, as Luca, and Lionel Boyce as Marcus. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have quibbles here and there — for one, there is a new character who appears as a potential love interest for Carmy who is not as developed as the rest of the characters on the show, which is a regrettably common problem with Potential Love Interest characters. And more than anything, I dearly wish this show were being put out week by week rather than all at once, because it is a perfect candidate for a degree of molecular dissection that, as something dropping all at once, it probably won’t get simply because of the nature of an all-episodes release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, I watched all 10 episodes in one day, so how can I complain?\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bear%27+deftly+turns+the+%27CORNER%21%27+into+Season+2&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jennifer Lawrence’s New Raunchy Teen Comedy Is Better Than It Should Be",
"headTitle": "Jennifer Lawrence’s New Raunchy Teen Comedy Is Better Than It Should Be | KQED",
"content": "\u003cp>In a saner world, we would have already had a dozen Jennifer Lawrence comedies.\u003c/p>\n\u003cp>When aliens arrive they will surely go directly to IMDB to survey her filmography and wonder why one of Hollywood’s funniest and most naturally charismatic stars spent the first decade of her career in dystopias, action movies and \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">whatever it is you call \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">Mother!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13930502']As if to make up for lost time, Lawrence has in \u003cem>No Hard Feelings\u003c/em> made the kind of R-rated teen comedy that has usually launched young actors. She plays a 32-year-old Montauk Uber driver who, desperate for money after her car is towed, is hired by the wealthy parents (Matthew Broderick, Laura Benanti) of a timid and sheltered 19-year-old (newcomer Andrew Barth Feldman) to take his virginity before he heads off to Princeton.\u003c/p>\n\u003cp>We’ve, of course, had plenty of movies about teenagers trying to get laid for the first time. But \u003cem>No Hard Feelings\u003c/em>, directed and co-written by Gene Stupnitsky, may be the first in which the teen in question has seemingly no desire to do so. He’s heterosexual, his parents are sure based on his browsing history.\u003c/p>\n\u003cp>But when Maddie Barker (Lawrence) turns up in a tight pink dress and heels at the Long Island animal shelter Percy (Feldman) works at, he responds mostly with prickliness and fear to her come-ons. The encounter ends with Percy spraying Maddie with mace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, a 19-year-old rejecting Jennifer Lawrence like this is potentially a good way to sever any possible connection the audience has with one of your main characters. It’s like having him smack a child. Some things are unforgivable. Maddie and Percy go on a series of increasingly intimate dates, and Percy vows to eventually “put out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P15S6ND8kbQ\u003c/p>\n\u003cp>The basis of \u003cem>No Hard Feelings\u003c/em>, all around, is fairly untenable. Even less believable than Percy’s response to Maddie is her involvement in this scheme in the first place. In the movie’s opening scenes, her car is towed away by a ghosted ex-boyfriend (Ebon Moss-Bachrach of \u003cem>The Bear\u003c/em>). In the uber-rich environs of Montauk, Maddie is trying to hold onto her house — the one she grew up in — while foreclosure lurks.\u003c/p>\n\u003cp>[aside postid='arts_13930468']Maddie, forced to rollerblade to her bartending job, may be financially desperate. But, say what you will about the gig economy, it offers plenty of alternatives to earning money besides sleeping with teenagers who cringe when the restaurant doesn’t have Pepsi.\u003c/p>\n\u003cp>And yet, \u003cem>No Hard Feelings\u003c/em> works better than it ought to. The preposterousness of the set-up is, naturally, part of the joke. Feldman, who here resembles the awkward Linguini of \u003cem>Ratatouille\u003c/em> brought to life, brings more sensitivity to the role than you would expect, and flashes of good comic timing. So uncomfortable is he on their dates that at the sound of a break in a nearby game of pool, he jumps like a frightened cat. Skinny dipping in the ocean, he doggy paddles.\u003c/p>\n\u003cp>And while the role forces Lawrence into raunchy situations that could easily be said to be beneath her, \u003cem>No Hard Feelings\u003c/em> gives her plenty of room to showcase her talent at upending traditional ideas of Hollywood glamour. At every moment, she delights in undercutting her own sexiness; it’s not every A-lister who’s willing to film a beach brawl in the nude. Lawrence — Hollywood screenwriters take note — is more at home parodying the sex bomb than being one.\u003c/p>\n\u003cp>Yet while \u003cem>No Hard Feelings\u003c/em> finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy. Big-screen comedies are dishearteningly few and far between these days, so it’s temping to applaud that \u003cem>No Hard Feelings\u003c/em>, which opens in theaters Friday, simply exists.\u003c/p>\n\u003cp>[aside postid='arts_13930224']Stupnitsky’s \u003cem>Good Boys\u003c/em> cleverly shrunk a familiar genre — the house-party movie — into an R-rated romp for sixth-graders. But \u003cem>No Hard Feelings\u003c/em> can feel stuck in adolescence. There are times here where you’re glad Lawrence is at least getting to act with adults. (Natalie Morales and Scott MacArthur are good as Maddie’s friends.) Lawrence could have easily carried a comedy that’s just on Maddie’s level, without the amateur-escort-for-a-kid storyline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>No Hard Feelings\u003c/em> does, though, smartly dig into a generation gap in inverting the genre’s standard beats. Percy — and many of his classmates — are depicted as too tethered to their phones and too delicate to perceived offenses. In one scene, Maddie tears down the upstairs hall of a high-school party. Behind every door, there are kids not making out but calmly texting or playing video games — a portrait of Gen Z with plenty of basis in fact. Incredulous, Maddie exclaims: “Doesn’t anyone f–k anymore?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a saner world, we would have already had a dozen Jennifer Lawrence comedies.\u003c/p>\n\u003cp>When aliens arrive they will surely go directly to IMDB to survey her filmography and wonder why one of Hollywood’s funniest and most naturally charismatic stars spent the first decade of her career in dystopias, action movies and \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">whatever it is you call \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">Mother!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As if to make up for lost time, Lawrence has in \u003cem>No Hard Feelings\u003c/em> made the kind of R-rated teen comedy that has usually launched young actors. She plays a 32-year-old Montauk Uber driver who, desperate for money after her car is towed, is hired by the wealthy parents (Matthew Broderick, Laura Benanti) of a timid and sheltered 19-year-old (newcomer Andrew Barth Feldman) to take his virginity before he heads off to Princeton.\u003c/p>\n\u003cp>We’ve, of course, had plenty of movies about teenagers trying to get laid for the first time. But \u003cem>No Hard Feelings\u003c/em>, directed and co-written by Gene Stupnitsky, may be the first in which the teen in question has seemingly no desire to do so. He’s heterosexual, his parents are sure based on his browsing history.\u003c/p>\n\u003cp>But when Maddie Barker (Lawrence) turns up in a tight pink dress and heels at the Long Island animal shelter Percy (Feldman) works at, he responds mostly with prickliness and fear to her come-ons. The encounter ends with Percy spraying Maddie with mace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, a 19-year-old rejecting Jennifer Lawrence like this is potentially a good way to sever any possible connection the audience has with one of your main characters. It’s like having him smack a child. Some things are unforgivable. Maddie and Percy go on a series of increasingly intimate dates, and Percy vows to eventually “put out.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P15S6ND8kbQ'\n title='//www.youtube.com/embed/P15S6ND8kbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The basis of \u003cem>No Hard Feelings\u003c/em>, all around, is fairly untenable. Even less believable than Percy’s response to Maddie is her involvement in this scheme in the first place. In the movie’s opening scenes, her car is towed away by a ghosted ex-boyfriend (Ebon Moss-Bachrach of \u003cem>The Bear\u003c/em>). In the uber-rich environs of Montauk, Maddie is trying to hold onto her house — the one she grew up in — while foreclosure lurks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maddie, forced to rollerblade to her bartending job, may be financially desperate. But, say what you will about the gig economy, it offers plenty of alternatives to earning money besides sleeping with teenagers who cringe when the restaurant doesn’t have Pepsi.\u003c/p>\n\u003cp>And yet, \u003cem>No Hard Feelings\u003c/em> works better than it ought to. The preposterousness of the set-up is, naturally, part of the joke. Feldman, who here resembles the awkward Linguini of \u003cem>Ratatouille\u003c/em> brought to life, brings more sensitivity to the role than you would expect, and flashes of good comic timing. So uncomfortable is he on their dates that at the sound of a break in a nearby game of pool, he jumps like a frightened cat. Skinny dipping in the ocean, he doggy paddles.\u003c/p>\n\u003cp>And while the role forces Lawrence into raunchy situations that could easily be said to be beneath her, \u003cem>No Hard Feelings\u003c/em> gives her plenty of room to showcase her talent at upending traditional ideas of Hollywood glamour. At every moment, she delights in undercutting her own sexiness; it’s not every A-lister who’s willing to film a beach brawl in the nude. Lawrence — Hollywood screenwriters take note — is more at home parodying the sex bomb than being one.\u003c/p>\n\u003cp>Yet while \u003cem>No Hard Feelings\u003c/em> finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy. Big-screen comedies are dishearteningly few and far between these days, so it’s temping to applaud that \u003cem>No Hard Feelings\u003c/em>, which opens in theaters Friday, simply exists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stupnitsky’s \u003cem>Good Boys\u003c/em> cleverly shrunk a familiar genre — the house-party movie — into an R-rated romp for sixth-graders. But \u003cem>No Hard Feelings\u003c/em> can feel stuck in adolescence. There are times here where you’re glad Lawrence is at least getting to act with adults. (Natalie Morales and Scott MacArthur are good as Maddie’s friends.) Lawrence could have easily carried a comedy that’s just on Maddie’s level, without the amateur-escort-for-a-kid storyline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>No Hard Feelings\u003c/em> does, though, smartly dig into a generation gap in inverting the genre’s standard beats. Percy — and many of his classmates — are depicted as too tethered to their phones and too delicate to perceived offenses. In one scene, Maddie tears down the upstairs hall of a high-school party. Behind every door, there are kids not making out but calmly texting or playing video games — a portrait of Gen Z with plenty of basis in fact. Incredulous, Maddie exclaims: “Doesn’t anyone f–k anymore?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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. 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",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>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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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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