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"content": "\u003cp>The distributor of Scott Adams’ \u003cem>Dilbert\u003c/em> comic strip, Andrews McMeel Universal, announced Sunday it was severing ties with the cartoonist.\u003c/p>\n\u003cp>This came after Adams urged white people “to get the hell away from Black people” during a racist rant on his \u003ca href=\"https://www.youtube.com/watch?v=K6TnAn7qV1s\">online video program\u003c/a> last week, during which he labeled Black people a “hate group.”\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em>, \u003cem>The Los Angeles Times\u003c/em> and other newspapers across the country had already announced they would no longer carry the syndicated comic strip.\u003c/p>\n\u003cp>[aside postid='pop_113061']Adams opens the episode of the online program discussing the presidential bid by Republican multimillionaire entrepreneur Vivek Ramaswamy. Then, 13 minutes into the video, Adams began his screed by citing the results of a \u003ca href=\"https://www.rasmussenreports.com/public_content/lifestyle/general_lifestyle/january_2023/not_woke_yet_most_voters_reject_anti_white_beliefs\">recent public opinion poll\u003c/a> conducted by the conservative-leaning Rasmussen Reports.\u003c/p>\n\u003cp>By telephone and online, the group surveyed a thousand American adults, with this question: “Do you agree or disagree with this statement, ‘It’s OK to be white’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report found that 72% of the respondents agreed, including 53% who are Black. Some 26% of Black respondents disagreed, and 21% said they are “not sure.” The poll also found that 79% of all the respondents agreed with the statement “Black people can be racist too.”\u003c/p>\n\u003cp>The statement “It’s OK to be white” has been repeated on right-wing websites and in speeches. \u003ca href=\"https://www.adl.org/resources/hate-symbol/its-okay-be-white\">The Anti-Defamation League has denounced it as a hate chant\u003c/a>.\u003c/p>\n\u003cp>On his YouTube livestream program, \u003cem>Real Coffee with Scott Adams\u003c/em>, the cartoonist said the results of that poll demonstrate the country’s racial tensions “can’t be fixed.”\u003c/p>\n\u003cp>Adams previously claimed he was a \u003ca href=\"https://twitter.com/scottadamssays/status/1277411944459153408?lang=en\">victim of racism in Hollywood\u003c/a> and corporate America. He was also a vocal \u003ca href=\"https://www.wired.com/2019/11/geeks-guide-scott-adams/?fbclid=IwAR3ZuRWOCwU-eeMKgCFjt5GZtNRyFAHXMAxvUUhqVIZfmSbDktfHwVowKh0&mbid=social_facebook&utm_brand=wired&utm_medium=social&utm_social-type=owned&utm_source=facebook\">supporter of Donald Trump\u003c/a>. For three decades, he produced his comic strip \u003cem>Dilbert\u003c/em>, which satirizes office culture. According to \u003ca href=\"http://syndication.andrewsmcmeel.com/comics/dilbert/\">Andrews McMeel Syndication\u003c/a>, \u003cem>Dilbert\u003c/em> appeared in 2,000 newspapers in 65 countries and 25 languages.\u003c/p>\n\u003cp>Adams has made news for other controversial statements, including \u003ca href=\"https://web.archive.org/web/20070222235609/http://dilbertblog.typepad.com/the_dilbert_blog/2006/10/sunday_blogging.html\">questioning the accuracy of the Holocaust death toll\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13923606']On his video show last week, the 65 year old said he had been identifying as Black “because I like to be on the winning team,” and that he used to help the Black community. Adams said the results of the Rasmussen poll changed his mind.\u003c/p>\n\u003cp>“It turns out that nearly half of that team doesn’t think I’m okay to be white,” he said, adding that he would re-identify as white. “I’m going to back off from being helpful to Black America because it doesn’t seem like it pays off,” he said. “I get called a racist. That’s the only outcome. It makes no sense to help Black Americans if you’re white. It’s over. Don’t even think it’s worth trying.”\u003c/p>\n\u003cp>“I’m not saying start a war or do anything bad,” he added. “Nothing like that. I’m just saying get away. Just get away.”\u003c/p>\n\u003cp>Editor Chris Quinn, of cleveland.com/\u003cem>The Plain Dealer\u003c/em> in Cleveland, \u003ca href=\"https://www.cleveland.com/news/2023/02/we-are-dropping-the-dilbert-comic-strip-because-of-creator-scott-adams-racist-rant-letter-from-the-editor.html\">called \u003c/a>Adam’s video statement “hateful and racist.”\u003c/p>\n\u003cp>“We are not a home for those who espouse racism,” Quinn wrote. “Adams’ reprehensible statements come during Black History Month, when \u003cem>The Plain Dealer\u003c/em> has been publishing stories about the work being performed by so many to overcome the damage done by racist decisions and policy.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.oregonlive.com/opinion/2023/02/letter-from-the-editor-why-we-are-no-longer-running-the-comic-strip-dilbert.html\">letter from the editor, \u003cem>The Oregonian\u003c/em>\u003c/a>’s Therese Bottomly wrote, “Some readers will no doubt deride my decision as an example of ‘overly woke’ culture or as a knee-jerk politically correct response. What about free speech, they might ask. Isn’t this censorship? No one is taking Adams’ free speech rights away. He is free to share his abhorrent comments on YouTube and Twitter so long as those companies allow them. This also isn’t censorship; it’s editing. Editors make decisions every day about what to publish, balancing the need to inform against the possibility of offending reader sensibilities.”\u003c/p>\n\u003cp>[aside postid='arts_13916612']This is not the first time Adams’ strip has been dropped. Last year, \u003cem>The San Francisco Chronicle\u003c/em> and 76 other \u003ca href=\"https://www.lamag.com/culturefiles/dilbert-cancelled-author-says-his-comic-strip-about-cubicle-life-removed-from-77-newspapers/\">newspapers published by Lee Enterprises reportedly dropped\u003cem> Dilbert\u003c/em>\u003c/a> after Adams introduced his first Black character. Quinn noted that the move was “apparently to poke fun at ‘woke’ culture and the LGBTQ community.”\u003c/p>\n\u003cp>Quinn said other newspapers that are part of Advance Local newsrooms — in Michigan, New York, Pennsylvania, New Jersey, Massachusetts and Oregon– made the same decision to stop running the strip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Adams\u003ca href=\"https://twitter.com/ScottAdamsSays/status/1629476166561312769\"> reacted\u003c/a> to the new backlash on Twitter, saying he’d been cancelled. Nearly 18 minutes into his \u003ca href=\"https://www.youtube.com/watch?v=fYXkMieE0CA\">YouTube show Saturday\u003c/a>, he predicted, “Most of my income will be gone by next week … My reputation for the rest of my life is destroyed. You can’t come back from this, am I right?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Distributor%2C+newspapers+drop+%27Dilbert%27+comic+strip+after+creator%27s+racist+rant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is not the first time Adams’ strip has been dropped. Last year, \u003cem>The San Francisco Chronicle\u003c/em> and 76 other \u003ca href=\"https://www.lamag.com/culturefiles/dilbert-cancelled-author-says-his-comic-strip-about-cubicle-life-removed-from-77-newspapers/\">newspapers published by Lee Enterprises reportedly dropped\u003cem> Dilbert\u003c/em>\u003c/a> after Adams introduced his first Black character. Quinn noted that the move was “apparently to poke fun at ‘woke’ culture and the LGBTQ community.”\u003c/p>\n\u003cp>Quinn said other newspapers that are part of Advance Local newsrooms — in Michigan, New York, Pennsylvania, New Jersey, Massachusetts and Oregon– made the same decision to stop running the strip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Adams\u003ca href=\"https://twitter.com/ScottAdamsSays/status/1629476166561312769\"> reacted\u003c/a> to the new backlash on Twitter, saying he’d been cancelled. Nearly 18 minutes into his \u003ca href=\"https://www.youtube.com/watch?v=fYXkMieE0CA\">YouTube show Saturday\u003c/a>, he predicted, “Most of my income will be gone by next week … My reputation for the rest of my life is destroyed. You can’t come back from this, am I right?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Distributor%2C+newspapers+drop+%27Dilbert%27+comic+strip+after+creator%27s+racist+rant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Everything You Need to Know About the 2023 Academy Awards",
"headTitle": "Everything You Need to Know About the 2023 Academy Awards | KQED",
"content": "\u003cp>Hollywood is gearing up for the 95th Academy Awards, where \u003cem>Everything Everywhere All at Once\u003c/em> comes in as the lead nominee and the film industry hopes to move past “the slap” of last year’s ceremony. Here’s everything you need to know about the 2023 Oscars, including when they are, where to watch the live show and this year’s controversies.\u003c/p>\n\u003ch2>When are the Oscars?\u003c/h2>\n\u003cp>The Oscars will be held Sunday, March 12, at the Dolby Theatre in Los Angeles. The ceremony is set to begin at 8 p.m. EST and will be broadcast live on ABC.\u003c/p>\n\u003ch2>Can you stream the Oscars?\u003c/h2>\n\u003cp>[aside postid='arts_13911228']The broadcast can be streamed with a subscription to Hulu Live TV, YouTubeTV, AT&T TV and Fubo TV. Some of these services offer brief free trials. You can also stream the show on ABC.com and on the ABC app by authenticating your provider.\u003c/p>\n\u003ch2>Who’s hosting?\u003c/h2>\n\u003cp>Jimmy Kimmel will host for the third time and his first time since 2018. That was also the last Oscars to feature a solo host. The show went hostless for several years after Kimmel’s last outing. Last year, Regina Hall, Amy Schumer and Wanda Sykes hosted as a trio. In an ad for this year’s show styled after \u003cem>Top Gun: Maverick\u003c/em>, Kimmel made his humble case for being the right person for the job while noting that he can’t get slapped because “I cry a lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aGsXh_loS7k\u003c/p>\n\u003ch2>What’s nominated for Best Picture at the 2023 Oscars?\u003c/h2>\n\u003cp>The 10 movies competing for best picture are: \u003cem>All Quiet on the Western Front\u003c/em>, \u003cem>Avatar: The Way of Water\u003c/em>, \u003cem>The Banshees of Inisherin\u003c/em>, \u003cem>Elvis\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em>, \u003cem>The Fabelmans\u003c/em>, \u003cem>Tár\u003c/em>, \u003cem>Top Gun: Maverick\u003c/em>, \u003cem>Triangle of Sadness\u003c/em>, \u003cem>Women Talking\u003c/em>. \u003ca href=\"https://apnews.com/article/how-to-watch-2023-oscar-nominations-movies-364aca2fdaa51eae34307c3b02446ae8\" target=\"_blank\" rel=\"noopener\">Here’s a guide to how you can watch them.\u003c/a>\u003c/p>\n\u003ch2>What’s in store for the show?\u003c/h2>\n\u003cp>The Academy of Motion Pictures Arts and Sciences is yet to announce presenters. But it has said that winners to all categories will be announced live on the show. (Last year, some categories were taped in a pre-show, something that caused an uproar among academy members.) Nominees for best song are often performed, and the academy confirms that Rihanna will perform “Lift Me Up” from \u003cem>Black Panther: Wakanda Forever\u003c/em> on the show. There’s no word yet on whether the show will feature Lady Gaga’s “Hold My Hand,” from \u003cem>Top Gun: Maverick\u003c/em> or Kala Bhairava’s “Naatu Naatu,” from \u003cem>RRR\u003c/em> — two other buzzy original song nominees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003ch2>Who are the favorites?\u003c/h2>\n\u003cp>Daniel Kwan and Daniel Scheinert’s indie sci-fi hit \u003cem>Everything Everywhere All at Once\u003c/em> comes in with a leading 11 nominations. Close on its heels, though, is the Irish friends-falling-out dark comedy \u003cem>The Banshees of Inisherin\u003c/em>, with nine nods, a total matched by Netflix’s WWI film \u003cem>All Quiet on the Western Front\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13911018']Michelle Yeoh (\u003cem>Everything Everywhere All at Once\u003c/em>) may have a slight edge on Cate Blanchett (\u003cem>Tár\u003c/em>) for best actress. Best actor is harder to call, with Brendan Fraser (\u003cem>The Whale\u003c/em>), Colin Farrell (\u003cem>Banshees\u003c/em>) and Austin Butler (\u003cem>Elvis\u003c/em>) in the mix.\u003c/p>\n\u003cp>In the supporting categories, Angela Bassett (\u003cem>Black Panther: Wakanda Forever\u003c/em>) and Ke Huy Quan (\u003cem>Everything Everywhere All at Once\u003c/em>) are the frontrunners. Steven Spielberg (\u003cem>The Fabelmans\u003c/em>) may win his third best director Oscar, though the Daniels could also pull off the upset.\u003c/p>\n\u003ch2>What’s been controversial this year?\u003c/h2>\n\u003cp>Aside from the usual snubs and surprises, this year’s biggest to-do has been the debate surrounding Andrea Riseborough’s unexpected nomination for best actress. Riseborough was nominated for the little-seen Texas-set drama \u003cem>To Leslie\u003c/em> after many A-list stars rallied around her performance. When two other best-actress contenders — Danielle Deadwyler (\u003cem>Till\u003c/em>) and Viola Davis (\u003cem>Woman King\u003c/em>) — were snubbed, some saw that as a reflection of racial bias in the film industry. The academy launched an inquiry into the star-studded, grassroots campaign for Riseborough but found no reason to rescind her nomination.\u003c/p>\n\u003ch2>What else should you look for?\u003c/h2>\n\u003cp>Just the reading of the title to one of \u003ca href=\"https://apnews.com/article/my-year-of-dicks-oscars-b8a6cb7089a580da4dbae0b16571bb25\" target=\"_blank\" rel=\"noopener\">this year’s short film nominees\u003c/a> should prompt a wave of giggles. John Williams (\u003cem>The Fabelmans\u003c/em>), up for best score, is the oldest nominee ever, at 90 years old. After historic back-to-back best-director wins by Chloé Zhao (\u003cem>Nomadland\u003c/em>) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>), no women were nominated this year for best director. Also don’t expect to see Will Smith at the Oscars anytime soon. After striking Chris Rock at last year’s ceremony, Smith was banned by the film academy from attending for 10 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The broadcast can be streamed with a subscription to Hulu Live TV, YouTubeTV, AT&T TV and Fubo TV. Some of these services offer brief free trials. You can also stream the show on ABC.com and on the ABC app by authenticating your provider.\u003c/p>\n\u003ch2>Who’s hosting?\u003c/h2>\n\u003cp>Jimmy Kimmel will host for the third time and his first time since 2018. That was also the last Oscars to feature a solo host. The show went hostless for several years after Kimmel’s last outing. Last year, Regina Hall, Amy Schumer and Wanda Sykes hosted as a trio. In an ad for this year’s show styled after \u003cem>Top Gun: Maverick\u003c/em>, Kimmel made his humble case for being the right person for the job while noting that he can’t get slapped because “I cry a lot.”\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/aGsXh_loS7k'\n title='//www.youtube.com/embed/aGsXh_loS7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>What’s nominated for Best Picture at the 2023 Oscars?\u003c/h2>\n\u003cp>The 10 movies competing for best picture are: \u003cem>All Quiet on the Western Front\u003c/em>, \u003cem>Avatar: The Way of Water\u003c/em>, \u003cem>The Banshees of Inisherin\u003c/em>, \u003cem>Elvis\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em>, \u003cem>The Fabelmans\u003c/em>, \u003cem>Tár\u003c/em>, \u003cem>Top Gun: Maverick\u003c/em>, \u003cem>Triangle of Sadness\u003c/em>, \u003cem>Women Talking\u003c/em>. \u003ca href=\"https://apnews.com/article/how-to-watch-2023-oscar-nominations-movies-364aca2fdaa51eae34307c3b02446ae8\" target=\"_blank\" rel=\"noopener\">Here’s a guide to how you can watch them.\u003c/a>\u003c/p>\n\u003ch2>What’s in store for the show?\u003c/h2>\n\u003cp>The Academy of Motion Pictures Arts and Sciences is yet to announce presenters. But it has said that winners to all categories will be announced live on the show. (Last year, some categories were taped in a pre-show, something that caused an uproar among academy members.) Nominees for best song are often performed, and the academy confirms that Rihanna will perform “Lift Me Up” from \u003cem>Black Panther: Wakanda Forever\u003c/em> on the show. There’s no word yet on whether the show will feature Lady Gaga’s “Hold My Hand,” from \u003cem>Top Gun: Maverick\u003c/em> or Kala Bhairava’s “Naatu Naatu,” from \u003cem>RRR\u003c/em> — two other buzzy original song nominees.\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/Mx_OexsUI2M'\n title='//www.youtube.com/embed/Mx_OexsUI2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Who are the favorites?\u003c/h2>\n\u003cp>Daniel Kwan and Daniel Scheinert’s indie sci-fi hit \u003cem>Everything Everywhere All at Once\u003c/em> comes in with a leading 11 nominations. Close on its heels, though, is the Irish friends-falling-out dark comedy \u003cem>The Banshees of Inisherin\u003c/em>, with nine nods, a total matched by Netflix’s WWI film \u003cem>All Quiet on the Western Front\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Michelle Yeoh (\u003cem>Everything Everywhere All at Once\u003c/em>) may have a slight edge on Cate Blanchett (\u003cem>Tár\u003c/em>) for best actress. Best actor is harder to call, with Brendan Fraser (\u003cem>The Whale\u003c/em>), Colin Farrell (\u003cem>Banshees\u003c/em>) and Austin Butler (\u003cem>Elvis\u003c/em>) in the mix.\u003c/p>\n\u003cp>In the supporting categories, Angela Bassett (\u003cem>Black Panther: Wakanda Forever\u003c/em>) and Ke Huy Quan (\u003cem>Everything Everywhere All at Once\u003c/em>) are the frontrunners. Steven Spielberg (\u003cem>The Fabelmans\u003c/em>) may win his third best director Oscar, though the Daniels could also pull off the upset.\u003c/p>\n\u003ch2>What’s been controversial this year?\u003c/h2>\n\u003cp>Aside from the usual snubs and surprises, this year’s biggest to-do has been the debate surrounding Andrea Riseborough’s unexpected nomination for best actress. Riseborough was nominated for the little-seen Texas-set drama \u003cem>To Leslie\u003c/em> after many A-list stars rallied around her performance. When two other best-actress contenders — Danielle Deadwyler (\u003cem>Till\u003c/em>) and Viola Davis (\u003cem>Woman King\u003c/em>) — were snubbed, some saw that as a reflection of racial bias in the film industry. The academy launched an inquiry into the star-studded, grassroots campaign for Riseborough but found no reason to rescind her nomination.\u003c/p>\n\u003ch2>What else should you look for?\u003c/h2>\n\u003cp>Just the reading of the title to one of \u003ca href=\"https://apnews.com/article/my-year-of-dicks-oscars-b8a6cb7089a580da4dbae0b16571bb25\" target=\"_blank\" rel=\"noopener\">this year’s short film nominees\u003c/a> should prompt a wave of giggles. John Williams (\u003cem>The Fabelmans\u003c/em>), up for best score, is the oldest nominee ever, at 90 years old. After historic back-to-back best-director wins by Chloé Zhao (\u003cem>Nomadland\u003c/em>) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>), no women were nominated this year for best director. Also don’t expect to see Will Smith at the Oscars anytime soon. After striking Chris Rock at last year’s ceremony, Smith was banned by the film academy from attending for 10 years.\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": "‘Cocaine Bear’ is Here to Strike a Blow to Staid Hollywood",
"headTitle": "‘Cocaine Bear’ is Here to Strike a Blow to Staid Hollywood | KQED",
"content": "\u003cp>On Dec. 22, 1985, The Associated Press reported the following from Blue Ridge, Georgia:\u003c/p>\n\u003cblockquote>\u003cp>Investigators searching for cocaine dropped by an airborne smuggler have found a ripped-up shipment of the sweet-smelling powder and the remains of a bear that apparently died of a multimillion-dollar high.\u003c/p>\u003c/blockquote>\n\u003cp>Police found a sad scene. A 175-lb. black bear dead near a duffle bag and some $2 million worth of cocaine that had been opened and scattered over a hillside. The parachutist, a former Kentucky narcotics investigator, had fallen to his death in a backyard in Knoxville, Tennessee. His unmanned airplane crashed into a North Carolina mountain. Back in Georgia, the bear, examiners said, had overdosed.\u003c/p>\n\u003cp>The story is in many ways too much. Too absurd. Too ’80s. Even the screenwriters of the \u003cem>Fast & Furious\u003c/em> movies would think it far-fetched. The stranger-than-fiction tale quickly receded from the headlines and, before some began to stoke the myth of “Pablo Escobear,” it mostly stayed buried in news media archives.\u003c/p>\n\u003cp>That changed when screenwriter Jimmy Warden delivered to producers Phil Lord and Christopher Miller a script titled \u003cem>Cocaine Bear\u003c/em>. They were on board from page one.\u003c/p>\n\u003cp>“When the movie’s pitched, you hear the word ‘Cocaine,’ you’re like I’m not sure what to think of this,” Lord says. “Then when you hear the word ‘Bear,’ you’re like: I’m all in.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yes, \u003cem>Cocaine Bear\u003c/em> is a real movie. And after it opens in theaters Friday, it might even be a hit. Since the trailer first debuted for Elizabeth Banks’ very, very loosely based-on-a-true-story R-rated comedy has stoked a rabid zeitgeist. At a time when much in Hollywood can feel pre-packaged, the makers of \u003cem>Cocaine Bear\u003c/em> think it can be an untamed exception.\u003c/p>\n\u003cp>“Hopefully the film lives up to the title,” Banks says, smiling. “That was the goal.”\u003c/p>\n\u003cp>Little on the movie calendar has captured the public imagination quite like \u003cem>Cocaine Bear\u003c/em>. Its trailer, watched more than 25 million times, immediately went viral. The movie, itself, is like a meme sprung to life — a kind of spiritual heir to \u003cem>Snakes on a Plane\u003c/em> crossed with a Paddington Bear fever dream. Everything about it is propelled by a tongue-in-cheek sense of humor and can-you-believe-this-is-a-real-movie wink. \u003ca href=\"https://twitter.com/cocainebear/status/1598013839202693120\" target=\"_blank\" rel=\"noopener\">“I’m the bear who ate cocaine,” reads one of the film’s official tweets\u003c/a>. “This is my story.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DuWEEKeJLMI\u003c/p>\n\u003cp>While most studio movies are driven by well-known intellectual property and few original comedies manage to attract audiences in theaters, \u003cem>Cocaine Bear\u003c/em> is here to strike a blow to business-as-usual in Hollywood. \u003cem>Cocaine Bear\u003c/em> is here to be bold. \u003cem>Cocaine Bear\u003c/em> is here to party.\u003c/p>\n\u003cp>[aside postid='arts_13925286']“You have to demonstrate theatricality to get the greenlight. It just means you have to swing the bat a little harder,” Lord says. “In this world that’s increasingly mechanized, things that don’t feel mechanized have really special value.”\u003c/p>\n\u003cp>Miller and Lord have in recent years shepherded some of the most vibrant and irreverent films to the screen, including \u003cem>The Lego Movie\u003c/em>, \u003cem>Spider-Man: Into the Spider-Verse\u003c/em> and \u003cem>The Mitchells vs. the Machines\u003c/em>. They like to take apart old conventions and give them an absurdist, post-modern spin.\u003c/p>\n\u003cp>“Certainly, this movie was not mandated by a corporation,” Miller says, laughing. “It’s a thing we somehow snuck through the system. That’s how we love to make all our movies, like: ‘I can’t believe they let us get away with this.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925389 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-800x472.png\" alt=\"A black bear in an aggressive state in the woods, tongue thrust out of its mouth.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-800x472.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-1020x602.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-768x453.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM.png 1146w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Warden had been a production assistant on their 2012 action comedy \u003cem>21 Jump Street\u003c/em>. After hearing about the 1985 story, Warden wrote the script on spec and hoped his old bosses would like it. Intrigued at the screenplay’s possibility, the producers found an unexpectedly open reception from Universal Pictures chief Donna Langley.\u003c/p>\n\u003cp>“What’s funny is that we thought it would be difficult because of the subject matter. But surprisingly, they were excited right from the jump and didn’t shy away from the movie, its tone or even its title,” says Miller. “We thought at some point, someone was going to say, ‘Well you can’t call it \u003cem>Cocaine Bear\u003c/em>. You have to call it\u003cem> A Walk in the Woods\u003c/em>.”\u003c/p>\n\u003cp>Since her directorial debut in 2015′s \u003cem>Pitch Perfect 2\u003c/em>, Banks has carved out a second career behind the camera. She last helmed 2019′s \u003cem>Charlie’s Angels\u003c/em>. With Universal’s backing and Lord and Miller producing, \u003cem>Cocaine Bear\u003c/em> struck her as not just a viable, actually-happening project but one where she could marry a gory animal attack movie with comedy.\u003c/p>\n\u003cp>[aside postid='arts_13924480']“Most people are surprised that it is a real thing, and very surprised that I’m the person that made it,” says Banks, laughing. “I just got a text from someone who was like, ‘I’ve been hearing about this movie and I had no idea you made it.’”\u003c/p>\n\u003cp>Though the title meant \u003cem>Cocaine Bear\u003c/em> would be limited from some advertising platforms, the filmmakers describe the studio as interested in leaning into what made the film distinct from the all the options viewers are inundated with. Nothing, it turned out, could cut through all the noise like Cocaine Bear.\u003c/p>\n\u003cp>“They love things with strong flavor. That’s the word I hear a lot in my marketing meetings,” Banks says. “It’s harder and harder to find things that are theatrically exciting. The hope was that we were making something people needed to leave their house to see.”\u003c/p>\n\u003cp>The film, itself, takes the basis of the real story and imagines what might have transpired if the bear didn’t quickly die but went on a coke-fueled rampage through a national forest, terrorizing park wardens, campers and drug dealers seeking the lost shipment. After an initial taste, the bear goes after more cocaine with all the zeal of Yogi pursuing a picnic basket.\u003c/p>\n\u003cfigure id=\"attachment_13925390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-800x569.png\" alt=\"A Black man holding a gun, a Black woman in a park ranger uniform, a white man dressed in blue denim and another white man wearing aviators and 1970s-style clothing stand in the forest looking perplexed.\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-800x569.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM.png 1428w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">O’Shea Jackson, Ayoola Smart, Matthew Rhys and Ray Liotta in ‘Cocaine Bear.’\u003c/figcaption>\u003c/figure>\n\u003cp>The bear, named Cokie, was a CGI concoction created by Weta FX with Allen Henry, a stunt man and student of Andy Serkis, performing motion capture. He wore all black and walked on all fours with prosthetic arms. The rest of the cast includes Keri Russell, Margo Martindale, Alden Ehrenreich, O’Shea Jackson and Ray Liotta. It’s one of Liotta’s final performances before his death last May, and one that connects back to his similarly cocaine-laced performance in \u003cem>Goodfellas\u003c/em>.\u003c/p>\n\u003cp>“I’ve said that this film felt very risky. The risk was: I was never going to have the lead character of the movie on the set of the movie,” Banks says. “That was truly what scared me the most. If the bear didn’t work, the movie falls apart.”\u003c/p>\n\u003cp>[aside postid='arts_13924357']Lord and Miller hope that there’s a rising realization within the film industry that movies that are audaciously original can pack theaters. Lord points to the Academy Awards favorite \u003cem>Everything Everywhere All at Once\u003c/em> as recent proof.\u003c/p>\n\u003cp>“It could win best picture and it’s the zaniest idea out there,” Lord says. “For the scale of that movie, it’s a huge hit. What we’re after is demonstrating that these movies can be original and fun and surprising and they can be hits.”\u003c/p>\n\u003cp>“I can’t think of a movie that came out last year that wouldn’t have been maybe a little bit better if there had a been a cocaine-fueled bear on a rampage as part of it,” adds Miller. “Imagine if \u003cem>The Banshees of Inisherin\u003c/em> had a big bear just running through biting that guy’s fingers off.”\u003c/p>\n\u003cp>If it’s successful, \u003cem>Cocaine Bear\u003c/em> could, of course, become a franchise of its own. A sequel isn’t out the question. LSD Armadillo? Quaalude Tortoise? Banks, for now, is deferring.\u003c/p>\n\u003cp>“Somebody will put something into the AI chat bot and it will spit out something ridiculous and the internet will write it for us.”\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>. Follow \u003c/em>AP \u003cem>Film Writer \u003ca href=\"http://twitter.com/jakecoyleAP\" target=\"_blank\" rel=\"noopener\">Jake Coyle on Twitter\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Dec. 22, 1985, The Associated Press reported the following from Blue Ridge, Georgia:\u003c/p>\n\u003cblockquote>\u003cp>Investigators searching for cocaine dropped by an airborne smuggler have found a ripped-up shipment of the sweet-smelling powder and the remains of a bear that apparently died of a multimillion-dollar high.\u003c/p>\u003c/blockquote>\n\u003cp>Police found a sad scene. A 175-lb. black bear dead near a duffle bag and some $2 million worth of cocaine that had been opened and scattered over a hillside. The parachutist, a former Kentucky narcotics investigator, had fallen to his death in a backyard in Knoxville, Tennessee. His unmanned airplane crashed into a North Carolina mountain. Back in Georgia, the bear, examiners said, had overdosed.\u003c/p>\n\u003cp>The story is in many ways too much. Too absurd. Too ’80s. Even the screenwriters of the \u003cem>Fast & Furious\u003c/em> movies would think it far-fetched. The stranger-than-fiction tale quickly receded from the headlines and, before some began to stoke the myth of “Pablo Escobear,” it mostly stayed buried in news media archives.\u003c/p>\n\u003cp>That changed when screenwriter Jimmy Warden delivered to producers Phil Lord and Christopher Miller a script titled \u003cem>Cocaine Bear\u003c/em>. They were on board from page one.\u003c/p>\n\u003cp>“When the movie’s pitched, you hear the word ‘Cocaine,’ you’re like I’m not sure what to think of this,” Lord says. “Then when you hear the word ‘Bear,’ you’re like: I’m all in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yes, \u003cem>Cocaine Bear\u003c/em> is a real movie. And after it opens in theaters Friday, it might even be a hit. Since the trailer first debuted for Elizabeth Banks’ very, very loosely based-on-a-true-story R-rated comedy has stoked a rabid zeitgeist. At a time when much in Hollywood can feel pre-packaged, the makers of \u003cem>Cocaine Bear\u003c/em> think it can be an untamed exception.\u003c/p>\n\u003cp>“Hopefully the film lives up to the title,” Banks says, smiling. “That was the goal.”\u003c/p>\n\u003cp>Little on the movie calendar has captured the public imagination quite like \u003cem>Cocaine Bear\u003c/em>. Its trailer, watched more than 25 million times, immediately went viral. The movie, itself, is like a meme sprung to life — a kind of spiritual heir to \u003cem>Snakes on a Plane\u003c/em> crossed with a Paddington Bear fever dream. Everything about it is propelled by a tongue-in-cheek sense of humor and can-you-believe-this-is-a-real-movie wink. \u003ca href=\"https://twitter.com/cocainebear/status/1598013839202693120\" target=\"_blank\" rel=\"noopener\">“I’m the bear who ate cocaine,” reads one of the film’s official tweets\u003c/a>. “This is my story.”\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/DuWEEKeJLMI'\n title='//www.youtube.com/embed/DuWEEKeJLMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While most studio movies are driven by well-known intellectual property and few original comedies manage to attract audiences in theaters, \u003cem>Cocaine Bear\u003c/em> is here to strike a blow to business-as-usual in Hollywood. \u003cem>Cocaine Bear\u003c/em> is here to be bold. \u003cem>Cocaine Bear\u003c/em> is here to party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You have to demonstrate theatricality to get the greenlight. It just means you have to swing the bat a little harder,” Lord says. “In this world that’s increasingly mechanized, things that don’t feel mechanized have really special value.”\u003c/p>\n\u003cp>Miller and Lord have in recent years shepherded some of the most vibrant and irreverent films to the screen, including \u003cem>The Lego Movie\u003c/em>, \u003cem>Spider-Man: Into the Spider-Verse\u003c/em> and \u003cem>The Mitchells vs. the Machines\u003c/em>. They like to take apart old conventions and give them an absurdist, post-modern spin.\u003c/p>\n\u003cp>“Certainly, this movie was not mandated by a corporation,” Miller says, laughing. “It’s a thing we somehow snuck through the system. That’s how we love to make all our movies, like: ‘I can’t believe they let us get away with this.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925389 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-800x472.png\" alt=\"A black bear in an aggressive state in the woods, tongue thrust out of its mouth.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-800x472.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-1020x602.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM-768x453.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-4.56.26-PM.png 1146w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Warden had been a production assistant on their 2012 action comedy \u003cem>21 Jump Street\u003c/em>. After hearing about the 1985 story, Warden wrote the script on spec and hoped his old bosses would like it. Intrigued at the screenplay’s possibility, the producers found an unexpectedly open reception from Universal Pictures chief Donna Langley.\u003c/p>\n\u003cp>“What’s funny is that we thought it would be difficult because of the subject matter. But surprisingly, they were excited right from the jump and didn’t shy away from the movie, its tone or even its title,” says Miller. “We thought at some point, someone was going to say, ‘Well you can’t call it \u003cem>Cocaine Bear\u003c/em>. You have to call it\u003cem> A Walk in the Woods\u003c/em>.”\u003c/p>\n\u003cp>Since her directorial debut in 2015′s \u003cem>Pitch Perfect 2\u003c/em>, Banks has carved out a second career behind the camera. She last helmed 2019′s \u003cem>Charlie’s Angels\u003c/em>. With Universal’s backing and Lord and Miller producing, \u003cem>Cocaine Bear\u003c/em> struck her as not just a viable, actually-happening project but one where she could marry a gory animal attack movie with comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most people are surprised that it is a real thing, and very surprised that I’m the person that made it,” says Banks, laughing. “I just got a text from someone who was like, ‘I’ve been hearing about this movie and I had no idea you made it.’”\u003c/p>\n\u003cp>Though the title meant \u003cem>Cocaine Bear\u003c/em> would be limited from some advertising platforms, the filmmakers describe the studio as interested in leaning into what made the film distinct from the all the options viewers are inundated with. Nothing, it turned out, could cut through all the noise like Cocaine Bear.\u003c/p>\n\u003cp>“They love things with strong flavor. That’s the word I hear a lot in my marketing meetings,” Banks says. “It’s harder and harder to find things that are theatrically exciting. The hope was that we were making something people needed to leave their house to see.”\u003c/p>\n\u003cp>The film, itself, takes the basis of the real story and imagines what might have transpired if the bear didn’t quickly die but went on a coke-fueled rampage through a national forest, terrorizing park wardens, campers and drug dealers seeking the lost shipment. After an initial taste, the bear goes after more cocaine with all the zeal of Yogi pursuing a picnic basket.\u003c/p>\n\u003cfigure id=\"attachment_13925390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-800x569.png\" alt=\"A Black man holding a gun, a Black woman in a park ranger uniform, a white man dressed in blue denim and another white man wearing aviators and 1970s-style clothing stand in the forest looking perplexed.\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-800x569.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM-768x546.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-21-at-5.01.47-PM.png 1428w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">O’Shea Jackson, Ayoola Smart, Matthew Rhys and Ray Liotta in ‘Cocaine Bear.’\u003c/figcaption>\u003c/figure>\n\u003cp>The bear, named Cokie, was a CGI concoction created by Weta FX with Allen Henry, a stunt man and student of Andy Serkis, performing motion capture. He wore all black and walked on all fours with prosthetic arms. The rest of the cast includes Keri Russell, Margo Martindale, Alden Ehrenreich, O’Shea Jackson and Ray Liotta. It’s one of Liotta’s final performances before his death last May, and one that connects back to his similarly cocaine-laced performance in \u003cem>Goodfellas\u003c/em>.\u003c/p>\n\u003cp>“I’ve said that this film felt very risky. The risk was: I was never going to have the lead character of the movie on the set of the movie,” Banks says. “That was truly what scared me the most. If the bear didn’t work, the movie falls apart.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lord and Miller hope that there’s a rising realization within the film industry that movies that are audaciously original can pack theaters. Lord points to the Academy Awards favorite \u003cem>Everything Everywhere All at Once\u003c/em> as recent proof.\u003c/p>\n\u003cp>“It could win best picture and it’s the zaniest idea out there,” Lord says. “For the scale of that movie, it’s a huge hit. What we’re after is demonstrating that these movies can be original and fun and surprising and they can be hits.”\u003c/p>\n\u003cp>“I can’t think of a movie that came out last year that wouldn’t have been maybe a little bit better if there had a been a cocaine-fueled bear on a rampage as part of it,” adds Miller. “Imagine if \u003cem>The Banshees of Inisherin\u003c/em> had a big bear just running through biting that guy’s fingers off.”\u003c/p>\n\u003cp>If it’s successful, \u003cem>Cocaine Bear\u003c/em> could, of course, become a franchise of its own. A sequel isn’t out the question. LSD Armadillo? Quaalude Tortoise? Banks, for now, is deferring.\u003c/p>\n\u003cp>“Somebody will put something into the AI chat bot and it will spit out something ridiculous and the internet will write it for us.”\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>. Follow \u003c/em>AP \u003cem>Film Writer \u003ca href=\"http://twitter.com/jakecoyleAP\" target=\"_blank\" rel=\"noopener\">Jake Coyle on Twitter\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Science That Spawned Fungal Fears in HBO’s ‘The Last of Us’",
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"content": "\u003cp>The video game series that spawned the new hit HBO drama,\u003cem> The Last of Us, \u003c/em>is the zombie genre with a twist.\u003c/p>\n\u003cp>Instead of a run-of-the-mill viral pandemic or bacterial disease pushing humanity to the brink, a \u003cem>Cordyceps \u003c/em>fungus evolves to survive in human bodies in part due to climate change.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Fungal disease resulted in around 1.7 million deaths in 2021, but it was only last year that the World Health Organization published its first-ever \u003ca href=\"https://www.who.int/publications-detail-redirect/9789240060241\">list of fungal priority pathogens\u003c/a>.\u003c/p>\n\u003cp>To learn more about the science that inspired \u003cem>The Last of Us\u003c/em> and the real-life threats fungal researchers see in the ever-warming world, \u003ca href=\"https://www.npr.org/podcasts/510351/short-wave\">\u003cem>Short Wave \u003c/em>\u003c/a>co-host Aaron Scott recently sat down with \u003ca href=\"https://mgm.duke.edu/personnel/asiya-gusa\">Asiya Gusa\u003c/a>, a post-doctoral fungal researcher at Duke University.\u003c/p>\n\u003cp>As a mycologist, Gusa was excited from the first scene, “When I saw the opening few minutes, I nearly jumped off the couch and was yelling at the screen, ‘This is like what I study!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLNagvJHl3g\u003c/p>\n\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>[aside postid='arts_13923656']Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\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=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fungal disease resulted in around 1.7 million deaths in 2021, but it was only last year that the World Health Organization published its first-ever \u003ca href=\"https://www.who.int/publications-detail-redirect/9789240060241\">list of fungal priority pathogens\u003c/a>.\u003c/p>\n\u003cp>To learn more about the science that inspired \u003cem>The Last of Us\u003c/em> and the real-life threats fungal researchers see in the ever-warming world, \u003ca href=\"https://www.npr.org/podcasts/510351/short-wave\">\u003cem>Short Wave \u003c/em>\u003c/a>co-host Aaron Scott recently sat down with \u003ca href=\"https://mgm.duke.edu/personnel/asiya-gusa\">Asiya Gusa\u003c/a>, a post-doctoral fungal researcher at Duke University.\u003c/p>\n\u003cp>As a mycologist, Gusa was excited from the first scene, “When I saw the opening few minutes, I nearly jumped off the couch and was yelling at the screen, ‘This is like what I study!’”\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/OLNagvJHl3g'\n title='//www.youtube.com/embed/OLNagvJHl3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\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=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Relive the Beastie Boys’ Legendary Tibetan Freedom Concert in SF",
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"content": "\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>[aside postid='arts_13921900']“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>[aside postid='arts_13925249']The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\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>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\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>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Six Must-See Films With Raquel Welch, From ‘Fantastic Voyage’ to ‘Myra Breckinridge’",
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"content": "\u003cp>Raquel Welch, a veteran actress who rose to fame as a sex symbol in the 1960s and 70s, \u003ca href=\"https://www.npr.org/2023/02/15/1157263420/raquel-welch-actress-and-hollywood-sex-symbol-dead-at-82\">died Wednesday in Los Angeles at the age of 82\u003c/a> after a brief illness. The news was confirmed to NPR by her son, Damon.\u003c/p>\n\u003cp>[aside postid='arts_10870518']In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gSYmJur0Npw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ssLVKLJ8ojU&t=1s\u003c/p>\n\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=dO5E4wkg0hA&t=1s\u003c/p>\n\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lmIeod8jk4k\u003c/p>\n\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ywcr3lYuVo0\u003c/p>\n\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=3IHiUYU4wQ8\u003c/p>\n\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\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/ssLVKLJ8ojU'\n title='//www.youtube.com/embed/ssLVKLJ8ojU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\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/dO5E4wkg0hA'\n title='//www.youtube.com/embed/dO5E4wkg0hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\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/lmIeod8jk4k'\n title='//www.youtube.com/embed/lmIeod8jk4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\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/ywcr3lYuVo0'\n title='//www.youtube.com/embed/ywcr3lYuVo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\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/3IHiUYU4wQ8'\n title='//www.youtube.com/embed/3IHiUYU4wQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At first glance, she could be a prototypical 1950s housewife, wearing an apron over a smart gingham dress, complete with yellow cleaning gloves. But this is a Banksy artwork on the side of a building we’re talking about, and the woman is pushing a freezer door closed — and a man’s legs are jutting out the other end.\u003c/p>\n\u003cp>The woman is also hurt. She appears to be missing a tooth, and an eye is swollen shut. And that’s where the title comes in: “Valentine’s Day mascara,” according to a \u003ca href=\"https://www.instagram.com/p/Coom0LDsfJf/?hl=en\">post to Banksy’s Instagram account\u003c/a> on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13898181']The most-liked reply to Banksy’s post reads: “Fighting violence used against women. Even on Valentines Day. Always!”\u003c/p>\n\u003cp>The artwork appeared in Margate, a city in southeastern England, becoming the latest locale for a graffiti installation by one of the world’s most famous living artists. It reportedly appeared on Monday; one day later, the local government removed the freezer that was a key part of the tableau, citing safety concerns.\u003c/p>\n\u003cp>But now the appliance “has been returned to its original position,” the \u003ca href=\"https://www.thanet.gov.uk/update-on-the-banksy-freezer/\">Thanet District Council said\u003c/a> on Wednesday, stating that the appliance “has now been made safe.” It did not provide details, saying only that work was done on the freezer “for health and safety reasons.”\u003c/p>\n\u003cfigure id=\"attachment_13925196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers remove a chest freezer that was part of an artwork by street artist Banksy, along the side of a house. \u003ccite>(WILLIAM EDWARDS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Banksy raises the important issue of domestic abuse in this artwork,” the council said. “We are in touch with the owner of the property to understand their intentions around the preservation of the piece and to secure the best possible outcome for the local community and victims of domestic abuse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work incorporates an actual freezer and a toppled chair, following Banksy’s tradition of mixing everyday items with paint and other media. As word of the artwork spread, people flocked to snap photos of themselves posing alongside the woman — resilient, triumphant and injured.\u003c/p>\n\u003cp>Then the freezer was taken away, leaving a void.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thanet.gov.uk/council-confirms-situation-regarding-banksy-artwork-in-margate/\">Thanet District Council said\u003c/a> on Tuesday that while the graffiti art is a genuine Banksy, and it was on the wall of a privately owned property, the chest freezer was “removed by council operatives on the grounds of safety as it was on public land.”\u003c/p>\n\u003cp>The council said it had placed the freezer in storage, adding that it would be returned “once it has been made safe to the public.”\u003c/p>\n\u003cp>[aside postid='arts_13883386']Some local residents mocked the council for invoking the need to keep public spaces tidy as a rationale for taking the art work apart.\u003c/p>\n\u003cp>“The council saying it was removed for safety reason is a bit short sided, considering that there is a side road next to the Banksy with a pile of rubbish and wood full of nails,” resident Davide Restifo \u003ca href=\"https://theisleofthanetnews.com/2023/02/14/thanet-council-says-freezer-will-be-returned-to-site-of-banksy-art-work-in-margate/\">told \u003cem>The Isle of Thanet News\u003c/em>\u003c/a>, submitting a photo of unsightly debris to prove his point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know is experiencing domestic abuse, use a safe computer and \u003c/em>\u003ca href=\"https://www.thehotline.org/help/\">\u003cem>contact help\u003c/em>\u003c/a>\u003cem>. You can also visit a local shelter, or call 911 or the National Domestic Violence Hotline at 1-800-799-7233.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Valentine%27s+Day+message+from+Banksy+comments+on+violence+against+women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The most-liked reply to Banksy’s post reads: “Fighting violence used against women. Even on Valentines Day. Always!”\u003c/p>\n\u003cp>The artwork appeared in Margate, a city in southeastern England, becoming the latest locale for a graffiti installation by one of the world’s most famous living artists. It reportedly appeared on Monday; one day later, the local government removed the freezer that was a key part of the tableau, citing safety concerns.\u003c/p>\n\u003cp>But now the appliance “has been returned to its original position,” the \u003ca href=\"https://www.thanet.gov.uk/update-on-the-banksy-freezer/\">Thanet District Council said\u003c/a> on Wednesday, stating that the appliance “has now been made safe.” It did not provide details, saying only that work was done on the freezer “for health and safety reasons.”\u003c/p>\n\u003cfigure id=\"attachment_13925196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers remove a chest freezer that was part of an artwork by street artist Banksy, along the side of a house. \u003ccite>(WILLIAM EDWARDS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Banksy raises the important issue of domestic abuse in this artwork,” the council said. “We are in touch with the owner of the property to understand their intentions around the preservation of the piece and to secure the best possible outcome for the local community and victims of domestic abuse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a case that has inspired American pop culture since it happened 65 years ago. Charles Starkweather and Caril Ann Fugate were a teenaged Bonnie and Clyde for the 1950s. In ’58, they murdered her family, holed up in her house for almost a week, hit the roads of Nebraska and went on a merciless killing spree. Starkweather was an 18-year-old ne’er-do-well. Fugate was a 14-year-old Lolita in love with her quintessential all-American bad boy. The couple’s story inspired movies like 1963’s \u003cem>The Sadist\u003c/em>, 1993’s \u003cem>Natural Born Killers\u003c/em> and 1973’s \u003cem>Badlands\u003c/em>, as well as the Bruce Springsteen song of the same name.\u003c/p>\n\u003cp>[aside postid='arts_13924520']Unfortunately for almost everyone involved, much of this popular narrative is false. The reality, as thoroughly dissected in Showtime’s new documentary series, \u003cem>The 12th Victim\u003c/em>, paints a far more complex picture — one that thoroughly exonerates Fugate for her role in the killings. By the end of four gripping episodes, what becomes clear is that this was not a story of youthful rebellion and lust run amok. It was a kidnapping, a major miscarriage of justice and one of the most egregious incidents of victim blaming in our nation’s history.\u003c/p>\n\u003cp>Starkweather was a remorseless spree killer who murdered 11 people in cold blood, alright. But Fugate wasn’t willingly along for the ride; she was a terrified hostage. After she finally escaped from Starkweather, the newly orphaned Fugate’s fortitude and survival was rewarded with a first degree murder conviction. She was the youngest person in American history ever charged with the crime.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Qy0ucSZuo0\u003c/p>\n\u003cp>One of the many pertinent points hammered home by \u003cem>The 12th Victim\u003c/em> is that Fugate’s version of events never wavered, no matter how many years passed. She told the same story under hypnosis and, at one point in the 1980s, she was found to be truthful by a televised lie detector test.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fugate’s version of events goes like this: After attempting to break up with Starkweather because she thought he was “crazy,” Fugate arrived home from school one day to find him in her house and armed. Starkweather told Fugate that if she didn’t do exactly as he instructed that he would have her family killed, including her beloved sister Betty-Jean, who was just two years old at the time. Starkweather told Fugate that her family were being held by associates of his and that she must go with him if she wanted them to live. She had no idea that Starkweather had already slaughtered her parents and baby sister and hidden their bodies.\u003c/p>\n\u003cp>[aside postid='pop_109009']After they hit the road, Starkweather killed almost everyone he and Fugate crossed paths with. By the time the pair were finally cornered by police officers, Fugate was in a deeply traumatized state. While Starkweather took on the cops, Fugate ran from their vehicle \u003ci>towards\u003c/i> the police, screaming for help and begging them to arrest Starkweather.\u003c/p>\n\u003cp>Once in custody, one of the first things Fugate asked for was her parents. She spent hours repeatedly begging to see her mother. Eventually an officer blurted out, “My God, girl, don’t you know they’re all dead?” Fugate became so distressed she had to be forcibly sedated.\u003c/p>\n\u003cp>In contrast, Starkweather proudly admitted to his crimes and, initially at least, stated that Fugate was indeed his hostage. As weeks dragged on, and as police found a variety of grossly inappropriate ways to pit Starkweather against Fugate, the murderer’s story began changing. By the time he was on death row and given an entire essay in \u003cem>Parade\u003c/em> magazine — one of the most popular publications of the time — Starkweather was claiming that his crimes were actually all Fugate’s idea.\u003c/p>\n\u003cp>“All the time the spree was taking place, I was scared,” Starkweather wrote in \u003cem>Parade\u003c/em>. “I was going to give up. Carol then threatened out loud that she wasn’t going to give up … With a shotgun laying across her lap with the barrel pointing directly at me, and with her fast talking, she convinced me that we didn’t have anything to gain by giving up.”\u003c/p>\n\u003cp>Despite being patently preposterous, the public ate it up. This version of events lined up with then-popular conservative ideas about the dangers of teen rebellion. And the public desire for answers that made sense were most quickly satiated by the scapegoating of Fugate. Plus, Starkweather’s version was infinitely more titillating for the press to have fun with.\u003c/p>\n\u003cp>After Starkweather was permitted to testify against Fugate at her trial, he famously stated: “If I fry in the electric chair, she should be sitting in my lap.”\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>’s primary focus is consistently the real Caril Ann Fugate — who she was before, during and after the crimes. Particularly heartbreaking to watch are her tireless attempts to prove her innocence — and to consistently demonstrate her good character — throughout the rest of her life.\u003c/p>\n\u003cp>[aside postid='arts_13913533']What elevates \u003cem>The 12th Victim\u003c/em> further is the way the series touches on how pop culture can impact justice. Popular pulp fiction of the 1950s indelibly influenced how receptive the public was to Starkweather and the authorities’ portrayal of Fugate. But that sensational false narrative has been getting fed back to us on a cultural loop ever since, keeping the issues (and misogyny) that plagued Fugate’s case ever-present in similar ways. In America, the show successfully argues, we’d always rather hear a story driven by sexualized violence than we would about a young woman surviving an impossible set of circumstances.\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>, at least, offers Caril Ann Fugate a final shot at redemption.\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>‘The 12th Victim’ premieres on Showtime on Feb. 17, 2023. \u003ca href=\"https://www.sho.com/the-12th-victim\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a case that has inspired American pop culture since it happened 65 years ago. Charles Starkweather and Caril Ann Fugate were a teenaged Bonnie and Clyde for the 1950s. In ’58, they murdered her family, holed up in her house for almost a week, hit the roads of Nebraska and went on a merciless killing spree. Starkweather was an 18-year-old ne’er-do-well. Fugate was a 14-year-old Lolita in love with her quintessential all-American bad boy. The couple’s story inspired movies like 1963’s \u003cem>The Sadist\u003c/em>, 1993’s \u003cem>Natural Born Killers\u003c/em> and 1973’s \u003cem>Badlands\u003c/em>, as well as the Bruce Springsteen song of the same name.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately for almost everyone involved, much of this popular narrative is false. The reality, as thoroughly dissected in Showtime’s new documentary series, \u003cem>The 12th Victim\u003c/em>, paints a far more complex picture — one that thoroughly exonerates Fugate for her role in the killings. By the end of four gripping episodes, what becomes clear is that this was not a story of youthful rebellion and lust run amok. It was a kidnapping, a major miscarriage of justice and one of the most egregious incidents of victim blaming in our nation’s history.\u003c/p>\n\u003cp>Starkweather was a remorseless spree killer who murdered 11 people in cold blood, alright. But Fugate wasn’t willingly along for the ride; she was a terrified hostage. After she finally escaped from Starkweather, the newly orphaned Fugate’s fortitude and survival was rewarded with a first degree murder conviction. She was the youngest person in American history ever charged with the crime.\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/2Qy0ucSZuo0'\n title='//www.youtube.com/embed/2Qy0ucSZuo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the many pertinent points hammered home by \u003cem>The 12th Victim\u003c/em> is that Fugate’s version of events never wavered, no matter how many years passed. She told the same story under hypnosis and, at one point in the 1980s, she was found to be truthful by a televised lie detector test.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fugate’s version of events goes like this: After attempting to break up with Starkweather because she thought he was “crazy,” Fugate arrived home from school one day to find him in her house and armed. Starkweather told Fugate that if she didn’t do exactly as he instructed that he would have her family killed, including her beloved sister Betty-Jean, who was just two years old at the time. Starkweather told Fugate that her family were being held by associates of his and that she must go with him if she wanted them to live. She had no idea that Starkweather had already slaughtered her parents and baby sister and hidden their bodies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After they hit the road, Starkweather killed almost everyone he and Fugate crossed paths with. By the time the pair were finally cornered by police officers, Fugate was in a deeply traumatized state. While Starkweather took on the cops, Fugate ran from their vehicle \u003ci>towards\u003c/i> the police, screaming for help and begging them to arrest Starkweather.\u003c/p>\n\u003cp>Once in custody, one of the first things Fugate asked for was her parents. She spent hours repeatedly begging to see her mother. Eventually an officer blurted out, “My God, girl, don’t you know they’re all dead?” Fugate became so distressed she had to be forcibly sedated.\u003c/p>\n\u003cp>In contrast, Starkweather proudly admitted to his crimes and, initially at least, stated that Fugate was indeed his hostage. As weeks dragged on, and as police found a variety of grossly inappropriate ways to pit Starkweather against Fugate, the murderer’s story began changing. By the time he was on death row and given an entire essay in \u003cem>Parade\u003c/em> magazine — one of the most popular publications of the time — Starkweather was claiming that his crimes were actually all Fugate’s idea.\u003c/p>\n\u003cp>“All the time the spree was taking place, I was scared,” Starkweather wrote in \u003cem>Parade\u003c/em>. “I was going to give up. Carol then threatened out loud that she wasn’t going to give up … With a shotgun laying across her lap with the barrel pointing directly at me, and with her fast talking, she convinced me that we didn’t have anything to gain by giving up.”\u003c/p>\n\u003cp>Despite being patently preposterous, the public ate it up. This version of events lined up with then-popular conservative ideas about the dangers of teen rebellion. And the public desire for answers that made sense were most quickly satiated by the scapegoating of Fugate. Plus, Starkweather’s version was infinitely more titillating for the press to have fun with.\u003c/p>\n\u003cp>After Starkweather was permitted to testify against Fugate at her trial, he famously stated: “If I fry in the electric chair, she should be sitting in my lap.”\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>’s primary focus is consistently the real Caril Ann Fugate — who she was before, during and after the crimes. Particularly heartbreaking to watch are her tireless attempts to prove her innocence — and to consistently demonstrate her good character — throughout the rest of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What elevates \u003cem>The 12th Victim\u003c/em> further is the way the series touches on how pop culture can impact justice. Popular pulp fiction of the 1950s indelibly influenced how receptive the public was to Starkweather and the authorities’ portrayal of Fugate. But that sensational false narrative has been getting fed back to us on a cultural loop ever since, keeping the issues (and misogyny) that plagued Fugate’s case ever-present in similar ways. In America, the show successfully argues, we’d always rather hear a story driven by sexualized violence than we would about a young woman surviving an impossible set of circumstances.\u003c/p>\n\u003cp>\u003cem>The 12th Victim\u003c/em>, at least, offers Caril Ann Fugate a final shot at redemption.\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>‘The 12th Victim’ premieres on Showtime on Feb. 17, 2023. \u003ca href=\"https://www.sho.com/the-12th-victim\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pharrell Named New Louis Vuitton Menswear Creative Director",
"headTitle": "Pharrell Named New Louis Vuitton Menswear Creative Director | KQED",
"content": "\u003cp>Louis Vuitton has named multitalented singer-songwriter-philanthropist Pharrell Williams creative director of its menswear division, replacing the late Virgil Abloh, the company said Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13925110']“Pharrell Williams is a visionary whose creative universes expand from music, to art and to fashion — establishing himself as a cultural, global icon over the past 20 years,” the luxury house said in a statement.\u003c/p>\n\u003cp>Word on the appointment first broke in\u003cem> The Wall Street Journal\u003c/em> and \u003cem>Le Figaro\u003c/em>.\u003c/p>\n\u003cp>The “Happy” singer is a 13-time Grammy winner and two-time Oscar nominee with experience working with luxury brands and designers like the late Karl Lagerfeld.\u003c/p>\n\u003cp>The appointment is effective immediately. Williams’ first collection is scheduled to be shown during Paris Men’s Fashion Week in June.\u003c/p>\n\u003cfigure id=\"attachment_13925140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg\" alt=\"A slender Black man wearing a red leather tracksuit and full length fur coat stands on the red carpet wearing bejeweled sunglasses. At his side is a beautiful mixed race woman with long dark hair. She is wearing a black version of the red tracksuit.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pharrell Williams and Helen Lasichanh attend the 65th GRAMMY Awards, February 2023 in LA. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The position had been left vacant since November 2021, when Abloh died of cancer at age 41. He was a groundbreaking designer and tastemaker known for merging streetwear and high fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Abloh’s ubiquitous, consumer-friendly presence in culture was wide-ranging and dynamic. Some compared him to Jeff Koons. Others hailed him as his generation’s Lagerfeld, Chanel’s longtime creative director who died in 2019. Abloh was the first Black director of menswear at Louis Vuitton, one of France’s most storied fashion houses.\u003c/p>\n\u003cp>[aside postid='arts_13925119']After Abloh’s death, the brand carried on with splashy men’s shows, largely without a creative director. Abloh, a DJ and founder of the brand Off-White, turned the job at Louis Vuitton into that of “curator,” rather than simply “designer,” as he expanded his interests into housewares, art, jewelry, industrial design and architecture.\u003c/p>\n\u003cp>Williams collaborated with the luxury group LVMH (Louis Vuitton Moët Hennessy) in 2004 and 2008. He had a massively popular sneaker collaboration with Chanel in 2017 and a unisex clothing collection in 2019 that he designed with Lagerfeld. He also has his own fashion brands, including Billionaire Boys Club and Icecream.\u003c/p>\n\u003cp>“His creative vision beyond fashion will undoubtedly lead Louis Vuitton towards a new and very exciting chapter,” the brand’s new chairman and CEO, Pietro Beccari, said in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pharrell Williams is a visionary whose creative universes expand from music, to art and to fashion — establishing himself as a cultural, global icon over the past 20 years,” the luxury house said in a statement.\u003c/p>\n\u003cp>Word on the appointment first broke in\u003cem> The Wall Street Journal\u003c/em> and \u003cem>Le Figaro\u003c/em>.\u003c/p>\n\u003cp>The “Happy” singer is a 13-time Grammy winner and two-time Oscar nominee with experience working with luxury brands and designers like the late Karl Lagerfeld.\u003c/p>\n\u003cp>The appointment is effective immediately. Williams’ first collection is scheduled to be shown during Paris Men’s Fashion Week in June.\u003c/p>\n\u003cfigure id=\"attachment_13925140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg\" alt=\"A slender Black man wearing a red leather tracksuit and full length fur coat stands on the red carpet wearing bejeweled sunglasses. At his side is a beautiful mixed race woman with long dark hair. She is wearing a black version of the red tracksuit.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pharrell Williams and Helen Lasichanh attend the 65th GRAMMY Awards, February 2023 in LA. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The position had been left vacant since November 2021, when Abloh died of cancer at age 41. He was a groundbreaking designer and tastemaker known for merging streetwear and high fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Abloh’s ubiquitous, consumer-friendly presence in culture was wide-ranging and dynamic. Some compared him to Jeff Koons. Others hailed him as his generation’s Lagerfeld, Chanel’s longtime creative director who died in 2019. Abloh was the first Black director of menswear at Louis Vuitton, one of France’s most storied fashion houses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After Abloh’s death, the brand carried on with splashy men’s shows, largely without a creative director. Abloh, a DJ and founder of the brand Off-White, turned the job at Louis Vuitton into that of “curator,” rather than simply “designer,” as he expanded his interests into housewares, art, jewelry, industrial design and architecture.\u003c/p>\n\u003cp>Williams collaborated with the luxury group LVMH (Louis Vuitton Moët Hennessy) in 2004 and 2008. He had a massively popular sneaker collaboration with Chanel in 2017 and a unisex clothing collection in 2019 that he designed with Lagerfeld. He also has his own fashion brands, including Billionaire Boys Club and Icecream.\u003c/p>\n\u003cp>“His creative vision beyond fashion will undoubtedly lead Louis Vuitton towards a new and very exciting chapter,” the brand’s new chairman and CEO, Pietro Beccari, said in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Super Bowl Commercials, From Adam Driver(s) to M&M Candies; the Hits and the Misses",
"headTitle": "Super Bowl Commercials, From Adam Driver(s) to M&M Candies; the Hits and the Misses | KQED",
"content": "\u003cp>Hefty as the fees were for advertising time on this year’s Super Bowl — up to $7 million per 30 seconds — there weren’t that many commercials whose concepts and execution seemed worthy of the price tag.\u003c/p>\n\u003cp>Instead, viewers were stuck watching commercials that stranded some big name celebrities in thoughtless concepts (Jon Hamm and Brie Larson \u003ca href=\"https://www.youtube.com/watch?v=r_xfLBvk-AA\">inside a giant refrigerator\u003c/a> for Hellmann’s mayonnaise?) or spots which made the products they were advertising look bad (Jennifer Coolidge \u003ca href=\"https://www.youtube.com/watch?v=jzE68RiXbT8\">getting her face stuck\u003c/a> to a glass door by e.l.f. Cosmetics).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jzE68RiXbT8\u003c/p>\n\u003cp>And, after cryptocurrency exchange Coinbase made waves with a QR code \u003ca href=\"https://indianexpress.com/article/technology/crypto/coinbase-spent-millions-on-super-bowl-ad-with-qr-code-then-their-website-crashed-7773142/\">embedded in a Super Bowl ad\u003c/a> in 2022, it felt like every other advertiser this year found a way to stick them inside their commercials.\u003c/p>\n\u003cp>Ironically, this year saw almost no crypto ads — perhaps the only good outcome from the spectacular collapse of FTX (seems \u003ca href=\"https://www.youtube.com/watch?v=_-FQqo46CJQ\">their Super Bowl ad last year\u003c/a> with Larry David expressing a comical level of skepticism about the company was right after all). We also saw lots of nostalgia and more partnerships, including Netflix passing up ads of its own to partner with GM and Anheuser-Busch’s Michelob Ultra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another trend also stuck out: a rise in ads for products normally considered adult vices, including liquor (via the Foo Fighters’ Dave Grohl for Crown Royal), sports betting and a wider variety of beers (since Anheuser-Busch gave up its exclusivity, allowing Molson-Coors to come play).\u003c/p>\n\u003cp>Here’s a sampling of what worked — and didn’t — in the most expensive advertising showcase on American television.\u003c/p>\n\u003ch3>Best culture war head fake: M&M’s “They’re Back for Good”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=tePiyF0Jzow\u003c/p>\n\u003cp>M&M’s cultivated a controversy announcing they would pause use of their animated “spokescandies” — pundits like Tucker Carlson had criticized changes in the characters as being too “woke.” New pitchwoman Maya Rudolph was selected to take over, but her ad during the game changed the name of the candies and \u003ca href=\"https://www.youtube.com/watch?v=tePiyF0Jzow\">put clams in the center\u003c/a> of every pellet. After the game, M&M’s aired their spot with the punchline: The candies were coming back for good, with the purple M&M, which Carlson had specifically criticized, saying, “\u003ca href=\"https://www.youtube.com/watch?v=bv0vPHWIX8U\">I’m glad to be back, because this is what I was made for\u003c/a>.” Well played, candies.\u003c/p>\n\u003ch3>Best “I’m not crying, you’re crying” ad: The Farmer’s Dog’s “Forever”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=IAIo-pUDl0s\u003c/p>\n\u003cp>The company, which specializes in fresh dog food, didn’t create the Super Bowl’s most moving ad by hiring a famous pitchperson or filling their spot with fancy effects. They traced the story of a woman who promised to love her dog forever, starting when she was a little girl and the dog was a puppy and ending when the owner has a baby of her own and her trusty pet is still there — but with a little gray in his coat. Viewers on social media said the ad brought them to tears. (I just got a speck of dirt in my eye while watching it. Honest.) The buzz proved that strong storytelling and a cute puppy trumps most other advertising gimmicks come Super Bowl time.\u003c/p>\n\u003ch3>Best team up: GM and Netflix’s “Why Not an EV?”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jfYdypGqbOs\u003c/p>\n\u003cp>There may be no surer sign of tightening belts in showbusiness than Netflix teaming with GM to share the cost of a Super Bowl ad. But this one’s a winner, with \u003cem>Saturday Night Live\u003c/em> alum Will Ferrell inserted into Netflix shows like \u003cem>Squid Game\u003c/em> and \u003cem>Army of the Dead\u003c/em>, promising that the streamer will feature more electric vehicles in their shows (okay, probably not a period piece like \u003cem>Bridgerton\u003c/em>, though seeing Ferrell trying to pronounce “shan’t” in a frilly shirt and fancy coat was still kind of funny.)\u003c/p>\n\u003ch3>Best use of nostalgia, Part I: PopCorners’ “Breaking Good”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ZMlemd6U24Y\u003c/p>\n\u003cp>It may be a little odd to call an ad centered on characters from a show that ended barely 10 years ago “nostalgic.” Still, this hoary TV fan couldn’t help feeling a thrill, watching Bryan Cranston’s Walter White, Aaron Paul’s Jesse Pinkman and Raymond Cruz’s Tuco Salamanca revive the spirit of \u003cem>Breaking Bad\u003c/em> while pretending air popped crisps are some kind of controlled substance. And it’s a pleasure to see a Super Bowl ad used to remind viewers of one of the best TV series ever to hit the small screen.\u003c/p>\n\u003ch3>Best ad that probably came from a hallucinogenic experience: Squarespace’s “The Singularity”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lIf27sHt2QA\u003c/p>\n\u003cp>Having Adam Driver in your Super Bowl ad is cool. So I don’t blame Squarespace for deciding even more Drivers would be even cooler. But the ad that resulted, featuring multiple copies of the actor standing in a desert field muttering about the wonder of a “website that makes websites” before getting sucked into a giant glowing ball called The Singularity….? It’s an ad that tells you almost nothing about the product, with a storyline that looks like it was hatched during a peyote bender. (I liked \u003ca href=\"https://youtu.be/XnLTBCSgGpQ\">the “teaser” ad\u003c/a> featuring multiple Drivers hanging out backstage much better.)\u003c/p>\n\u003ch3>Best use of a superhero catchphrase: Warner Bros. Pictures’ “The Flash”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M0zdJOM_5Vg&t=1s\u003c/p>\n\u003cp>This film has been plagued with problems, including the public meltdown of star Ezra Miller. But the Super Bowl ad for \u003cem>The Flash\u003c/em> is so packed with compelling revelations — from the return of Zod to a new Supergirl — that it seems more understandable why Warner Bros. is committed to getting this movie in theaters. And after I saw Michael Keaton utter the words he first made famous back in 1989 — “I’m Batman” — I decided they can have all my money.\u003c/p>\n\u003ch3>Best use of nostalgia, Part II: Michelob Ultra’s “New Members Day”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=iDGwwVki13Q&t=1s\u003c/p>\n\u003cp>If someone had told me Michelob was planning a homage to \u003cem>Caddyshack\u003c/em> with Serena Williams as Chevy Chase’s character, Brian Cox as Ted Knight’s character and Tony Romo doing a passable Bill Murray impression, I would have told them to save their $7 million. And I would have been wrong. Because somehow this ad — with an added cameo from original co-star Michael O’Keefe — references just enough of \u003cem>Caddyshack’\u003c/em>s absurdly fun spirit to be entertaining, while stacking the cast with faces the Netflix generation might actually know.\u003c/p>\n\u003ch3>Weirdest use of a Travolta: T-Mobile’s “New Year, New Neighbor”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jSO-Whn2sCQ&t=1s\u003c/p>\n\u003cp>Much as I love me some John Travolta, the bald, bearded guy who keeps making uncomfortable appearances in Super Bowl ads — he did the \u003cem>Grease\u003c/em> dance with grown daughter Ella in a spot \u003ca href=\"https://www.youtube.com/watch?v=_IQL9vETJVw\">two years ago\u003c/a> — is not my favorite. This year, he recreated the classic number from \u003cem>Grease\u003c/em>, “Summer Nights,” with \u003cem>Scrubs\u003c/em> co-stars Zach Braff and Donald Faison. Viewers got a multi-generational shot of nostalgia and celebrity, but it mostly just reminded me of how strange Travolta seems these days.\u003c/p>\n\u003ch3>Worst use of nostalgia (tie): Rakuten’s “Not-so-Clueless” and Uber One’s “One Hit for Uber One”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=o_yGq_4xCKQ\u003c/p>\n\u003cp>Points to Rakuten for realizing Alicia Silverstone could easily slip right back into the red beret of her \u003cem>Clueless\u003c/em> character, Cher. But those points fade once you realize they don’t have much idea what to do with her, once she’s used Rakuten to rack up purchases at a few big retailers. As if… that would fly in a Super Bowl ad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mnySyKAoLpI\u003c/p>\n\u003cp>Uber One suffers from the same problem; snagging a cool celebrity — in this case, Sean “P.Diddy” Combs — and then trapping that Big Name in a terribly unfunny commercial. In this case, Diddy is asked to write one hit for Uber One, so he turns to a bunch of artists considered one hit wonders for terrible, Uber-centric versions of their old hits. Unfortunately, I don’t think most viewers are going to recognize the current look of artists like Montell Jordan — and the cheesy jingle they make out of Haddaway’s dance classic “What Is Love” just makes Diddy look like the derivative hack his critics have always said he was.\u003c/p>\n\u003ch3>Ad where the teasers were better than the commercial: Pepsi’s “Great Acting or Great Taste?”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=adtWc_MvyzI\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is another problem which often crops up in Super Bowl ads; in this case, the “teaser” spots — short blips of content, usually dropped early to preview the Big Game ad — are more entertaining than the actual commercial. Steve Martin and Ben Stiller are the stars here, and the teaser \u003ca href=\"https://www.youtube.com/watch?v=4wPyZpCeJ6c\">featuring them bickering\u003c/a> over who is the better actor is way funnier than Martin’s spot, where he’s in various locations daring the audience to guess if he’s acting. Stiller’s \u003ca href=\"https://www.youtube.com/watch?v=ok38Xuc5UTE\">Super Bowl spot\u003c/a> is more entertaining, in part because he calls back to his Derek Zoolander character — more nostalgia! — and he’s in funnier situations overall.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+commercials%2C+from+Adam+Driver%28s%29+to+M%26M+candies%3B+the+hits+and+the+misses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Advertisers spent up to $7 million for every 30 seconds of airtime during Super Bowl LVII. Here’s what they came up with.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hefty as the fees were for advertising time on this year’s Super Bowl — up to $7 million per 30 seconds — there weren’t that many commercials whose concepts and execution seemed worthy of the price tag.\u003c/p>\n\u003cp>Instead, viewers were stuck watching commercials that stranded some big name celebrities in thoughtless concepts (Jon Hamm and Brie Larson \u003ca href=\"https://www.youtube.com/watch?v=r_xfLBvk-AA\">inside a giant refrigerator\u003c/a> for Hellmann’s mayonnaise?) or spots which made the products they were advertising look bad (Jennifer Coolidge \u003ca href=\"https://www.youtube.com/watch?v=jzE68RiXbT8\">getting her face stuck\u003c/a> to a glass door by e.l.f. Cosmetics).\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/jzE68RiXbT8'\n title='//www.youtube.com/embed/jzE68RiXbT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, after cryptocurrency exchange Coinbase made waves with a QR code \u003ca href=\"https://indianexpress.com/article/technology/crypto/coinbase-spent-millions-on-super-bowl-ad-with-qr-code-then-their-website-crashed-7773142/\">embedded in a Super Bowl ad\u003c/a> in 2022, it felt like every other advertiser this year found a way to stick them inside their commercials.\u003c/p>\n\u003cp>Ironically, this year saw almost no crypto ads — perhaps the only good outcome from the spectacular collapse of FTX (seems \u003ca href=\"https://www.youtube.com/watch?v=_-FQqo46CJQ\">their Super Bowl ad last year\u003c/a> with Larry David expressing a comical level of skepticism about the company was right after all). We also saw lots of nostalgia and more partnerships, including Netflix passing up ads of its own to partner with GM and Anheuser-Busch’s Michelob Ultra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another trend also stuck out: a rise in ads for products normally considered adult vices, including liquor (via the Foo Fighters’ Dave Grohl for Crown Royal), sports betting and a wider variety of beers (since Anheuser-Busch gave up its exclusivity, allowing Molson-Coors to come play).\u003c/p>\n\u003cp>Here’s a sampling of what worked — and didn’t — in the most expensive advertising showcase on American television.\u003c/p>\n\u003ch3>Best culture war head fake: M&M’s “They’re Back for Good”\u003c/h3>\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/tePiyF0Jzow'\n title='//www.youtube.com/embed/tePiyF0Jzow'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>M&M’s cultivated a controversy announcing they would pause use of their animated “spokescandies” — pundits like Tucker Carlson had criticized changes in the characters as being too “woke.” New pitchwoman Maya Rudolph was selected to take over, but her ad during the game changed the name of the candies and \u003ca href=\"https://www.youtube.com/watch?v=tePiyF0Jzow\">put clams in the center\u003c/a> of every pellet. After the game, M&M’s aired their spot with the punchline: The candies were coming back for good, with the purple M&M, which Carlson had specifically criticized, saying, “\u003ca href=\"https://www.youtube.com/watch?v=bv0vPHWIX8U\">I’m glad to be back, because this is what I was made for\u003c/a>.” Well played, candies.\u003c/p>\n\u003ch3>Best “I’m not crying, you’re crying” ad: The Farmer’s Dog’s “Forever”\u003c/h3>\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/IAIo-pUDl0s'\n title='//www.youtube.com/embed/IAIo-pUDl0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The company, which specializes in fresh dog food, didn’t create the Super Bowl’s most moving ad by hiring a famous pitchperson or filling their spot with fancy effects. They traced the story of a woman who promised to love her dog forever, starting when she was a little girl and the dog was a puppy and ending when the owner has a baby of her own and her trusty pet is still there — but with a little gray in his coat. Viewers on social media said the ad brought them to tears. (I just got a speck of dirt in my eye while watching it. Honest.) The buzz proved that strong storytelling and a cute puppy trumps most other advertising gimmicks come Super Bowl time.\u003c/p>\n\u003ch3>Best team up: GM and Netflix’s “Why Not an EV?”\u003c/h3>\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/jfYdypGqbOs'\n title='//www.youtube.com/embed/jfYdypGqbOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There may be no surer sign of tightening belts in showbusiness than Netflix teaming with GM to share the cost of a Super Bowl ad. But this one’s a winner, with \u003cem>Saturday Night Live\u003c/em> alum Will Ferrell inserted into Netflix shows like \u003cem>Squid Game\u003c/em> and \u003cem>Army of the Dead\u003c/em>, promising that the streamer will feature more electric vehicles in their shows (okay, probably not a period piece like \u003cem>Bridgerton\u003c/em>, though seeing Ferrell trying to pronounce “shan’t” in a frilly shirt and fancy coat was still kind of funny.)\u003c/p>\n\u003ch3>Best use of nostalgia, Part I: PopCorners’ “Breaking Good”\u003c/h3>\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/ZMlemd6U24Y'\n title='//www.youtube.com/embed/ZMlemd6U24Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may be a little odd to call an ad centered on characters from a show that ended barely 10 years ago “nostalgic.” Still, this hoary TV fan couldn’t help feeling a thrill, watching Bryan Cranston’s Walter White, Aaron Paul’s Jesse Pinkman and Raymond Cruz’s Tuco Salamanca revive the spirit of \u003cem>Breaking Bad\u003c/em> while pretending air popped crisps are some kind of controlled substance. And it’s a pleasure to see a Super Bowl ad used to remind viewers of one of the best TV series ever to hit the small screen.\u003c/p>\n\u003ch3>Best ad that probably came from a hallucinogenic experience: Squarespace’s “The Singularity”\u003c/h3>\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/lIf27sHt2QA'\n title='//www.youtube.com/embed/lIf27sHt2QA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Having Adam Driver in your Super Bowl ad is cool. So I don’t blame Squarespace for deciding even more Drivers would be even cooler. But the ad that resulted, featuring multiple copies of the actor standing in a desert field muttering about the wonder of a “website that makes websites” before getting sucked into a giant glowing ball called The Singularity….? It’s an ad that tells you almost nothing about the product, with a storyline that looks like it was hatched during a peyote bender. (I liked \u003ca href=\"https://youtu.be/XnLTBCSgGpQ\">the “teaser” ad\u003c/a> featuring multiple Drivers hanging out backstage much better.)\u003c/p>\n\u003ch3>Best use of a superhero catchphrase: Warner Bros. Pictures’ “The Flash”\u003c/h3>\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/M0zdJOM_5Vg'\n title='//www.youtube.com/embed/M0zdJOM_5Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This film has been plagued with problems, including the public meltdown of star Ezra Miller. But the Super Bowl ad for \u003cem>The Flash\u003c/em> is so packed with compelling revelations — from the return of Zod to a new Supergirl — that it seems more understandable why Warner Bros. is committed to getting this movie in theaters. And after I saw Michael Keaton utter the words he first made famous back in 1989 — “I’m Batman” — I decided they can have all my money.\u003c/p>\n\u003ch3>Best use of nostalgia, Part II: Michelob Ultra’s “New Members Day”\u003c/h3>\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/iDGwwVki13Q'\n title='//www.youtube.com/embed/iDGwwVki13Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If someone had told me Michelob was planning a homage to \u003cem>Caddyshack\u003c/em> with Serena Williams as Chevy Chase’s character, Brian Cox as Ted Knight’s character and Tony Romo doing a passable Bill Murray impression, I would have told them to save their $7 million. And I would have been wrong. Because somehow this ad — with an added cameo from original co-star Michael O’Keefe — references just enough of \u003cem>Caddyshack’\u003c/em>s absurdly fun spirit to be entertaining, while stacking the cast with faces the Netflix generation might actually know.\u003c/p>\n\u003ch3>Weirdest use of a Travolta: T-Mobile’s “New Year, New Neighbor”\u003c/h3>\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/jSO-Whn2sCQ'\n title='//www.youtube.com/embed/jSO-Whn2sCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much as I love me some John Travolta, the bald, bearded guy who keeps making uncomfortable appearances in Super Bowl ads — he did the \u003cem>Grease\u003c/em> dance with grown daughter Ella in a spot \u003ca href=\"https://www.youtube.com/watch?v=_IQL9vETJVw\">two years ago\u003c/a> — is not my favorite. This year, he recreated the classic number from \u003cem>Grease\u003c/em>, “Summer Nights,” with \u003cem>Scrubs\u003c/em> co-stars Zach Braff and Donald Faison. Viewers got a multi-generational shot of nostalgia and celebrity, but it mostly just reminded me of how strange Travolta seems these days.\u003c/p>\n\u003ch3>Worst use of nostalgia (tie): Rakuten’s “Not-so-Clueless” and Uber One’s “One Hit for Uber One”\u003c/h3>\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/o_yGq_4xCKQ'\n title='//www.youtube.com/embed/o_yGq_4xCKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Points to Rakuten for realizing Alicia Silverstone could easily slip right back into the red beret of her \u003cem>Clueless\u003c/em> character, Cher. But those points fade once you realize they don’t have much idea what to do with her, once she’s used Rakuten to rack up purchases at a few big retailers. As if… that would fly in a Super Bowl ad.\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/mnySyKAoLpI'\n title='//www.youtube.com/embed/mnySyKAoLpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Uber One suffers from the same problem; snagging a cool celebrity — in this case, Sean “P.Diddy” Combs — and then trapping that Big Name in a terribly unfunny commercial. In this case, Diddy is asked to write one hit for Uber One, so he turns to a bunch of artists considered one hit wonders for terrible, Uber-centric versions of their old hits. Unfortunately, I don’t think most viewers are going to recognize the current look of artists like Montell Jordan — and the cheesy jingle they make out of Haddaway’s dance classic “What Is Love” just makes Diddy look like the derivative hack his critics have always said he was.\u003c/p>\n\u003ch3>Ad where the teasers were better than the commercial: Pepsi’s “Great Acting or Great Taste?”\u003c/h3>\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/adtWc_MvyzI'\n title='//www.youtube.com/embed/adtWc_MvyzI'\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 is another problem which often crops up in Super Bowl ads; in this case, the “teaser” spots — short blips of content, usually dropped early to preview the Big Game ad — are more entertaining than the actual commercial. Steve Martin and Ben Stiller are the stars here, and the teaser \u003ca href=\"https://www.youtube.com/watch?v=4wPyZpCeJ6c\">featuring them bickering\u003c/a> over who is the better actor is way funnier than Martin’s spot, where he’s in various locations daring the audience to guess if he’s acting. Stiller’s \u003ca href=\"https://www.youtube.com/watch?v=ok38Xuc5UTE\">Super Bowl spot\u003c/a> is more entertaining, in part because he calls back to his Derek Zoolander character — more nostalgia! — and he’s in funnier situations overall.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+commercials%2C+from+Adam+Driver%28s%29+to+M%26M+candies%3B+the+hits+and+the+misses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A co-host of \u003cem>Ear Hustle\u003c/em>, the Pulitzer Prize-nominated podcast produced behind bars, was released from San Quentin State Prison on Wednesday, a year after California Gov. Gavin Newsom commuted his sentence.\u003c/p>\n\u003cp>Rahsaan “New York” Thomas, 52, left the lockup near San Francisco and was greeted by his fellow podcast co-hosts Walter “Earlonne” Woods, who was freed in 2019, and Nigel Poor.\u003c/p>\n\u003cp>“We’re thrilled to welcome him home,” the podcast posted on its Twitter feed, along with photos of Thomas.\u003c/p>\n\u003cp>https://twitter.com/earhustlesq/status/1623392364394848258\u003c/p>\n\u003cp>Thomas’ sentence was commuted by Newsom in Jan. 2022 and the state parole board granted his release on parole in August.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While in prison, Mr. Thomas has dedicated himself to his rehabilitation,” Newsom wrote in the commutation.\u003c/p>\n\u003cp>Thomas was serving a 55 1/2 years-to-life sentence for a second-degree murder conviction in 2000 and related charges after he fatally shot one victim and injured another during a drug deal. A Los Angeles County jury rejected his self-defense claim that he fatally shot a man who was trying to rob him.\u003c/p>\n\u003cp>[aside postid='arts_13847946']Since 2019, Thomas has been a co-producer and co-host of \u003cem>Ear Hustle\u003c/em>— named after prison slang for eavesdropping. He was also a regular contributor to the San Quentin News, along with publications outside prison walls. He served as chairman of the Society of Professional Journalists’ San Quentin satellite chapter and worked with several criminal justice reform groups.\u003c/p>\n\u003cp>Former governor Jerry Brown in 2018 commuted the sentence of Woods, the podcast’s co-creator, leading to his release. Woods continues to work on the outside as a full-time producer and co-host for the podcast.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>, which began in 2017, bills itself as “the first podcast created and produced in prison, featuring stories of the daily realities of life inside California’s San Quentin State Prison, shared by those living it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2019, Thomas has been a co-producer and co-host of \u003cem>Ear Hustle\u003c/em>— named after prison slang for eavesdropping. He was also a regular contributor to the San Quentin News, along with publications outside prison walls. He served as chairman of the Society of Professional Journalists’ San Quentin satellite chapter and worked with several criminal justice reform groups.\u003c/p>\n\u003cp>Former governor Jerry Brown in 2018 commuted the sentence of Woods, the podcast’s co-creator, leading to his release. Woods continues to work on the outside as a full-time producer and co-host for the podcast.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>, which began in 2017, bills itself as “the first podcast created and produced in prison, featuring stories of the daily realities of life inside California’s San Quentin State Prison, shared by those living it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "We Need to Talk About Leonardo DiCaprio",
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"content": "\u003cp>Twitter raised a collective eyebrow earlier this week when photos emerged of 48-year-old \u003ca href=\"https://twitter.com/DrProudman/status/1622537376160423936\">Leonardo DiCaprio hanging out with a 19-year-old French model named Eden Polani.\u003c/a> No one was surprised, of course, but assumptions about what was happening quickly spread online.\u003c/p>\n\u003cp>[aside postid='arts_13923161']The age gap between DiCaprio and Polani is similar to the one between Pedro Pascal (47) and Bella Ramsey (19) from \u003cem>The Last of Us\u003c/em>, people pointed out. It’s also similar to the one between David Harbour (47) and Millie Bobby Brown (18) from \u003cem>Stranger Things\u003c/em>, others chimed in.\u003c/p>\n\u003cp>Wouldn’t we all be uncomfortable if either of these duos became couples? The short answer is, hell yes, we would. And not just because the women in question are still young enough to play underage people on television, or that those men play their guardians.\u003c/p>\n\u003cp>https://twitter.com/jodieegrace/status/1623032506164613126\u003c/p>\n\u003cp>On Wednesday, per TMZ, “a source close to DiCaprio” denied that he’s dating Polani. As if to prove this, TMZ noted that DiCaprio has also recently been linked with 23-year-old model \u003ca href=\"https://www.instagram.com/victoriaalamas/?hl=en\">Victoria Lamas\u003c/a> and has been \u003ca href=\"https://www.tmz.com/2023/01/03/leonardo-dicaprio-vacation-yacht-women-st-barts-caribbean-photos/\">photographed on a yacht with a group of young models\u003c/a>. It’s not terribly surprising that the public jumped to conclusions about DiCaprio and Polani, given how he’s been behaving for literally decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The world has known about DiCaprio’s dating preferences for a very, very long time — namely, that he appears interested almost exclusively in young models, and that he doesn’t date women past the age of 25. DiCaprio’s compulsion to date and then dump women under 25 has been the topic of too many jokes to list here, and it would be boring for me to do so — you’ve already heard them. We all have.\u003c/p>\n\u003cp>Someone on Reddit even made a handy graph in 2021:\u003c/p>\n\u003cfigure id=\"attachment_13924887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924887\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png\" alt=\"A graph showing, on one line, Leonardo DiCaprio's age, and on another beneath it, the fluctuating ages of his girlfriends, none of whom are with him past 25.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stark, isn’t it? \u003ccite>(TrustLittleBrother on Reddit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What the graph doesn’t include are the many flings he had with models in the ‘90s (everyone was the same age, it’s fine) or, more recently, the end of DiCaprio’s relationship with Camila Morrone. The couple lasted four years and came to an end three months after the model turned — you’ve guessed it! — 25. Incidentally, DiCaprio and Nina Agdal broke up two months after her 25th birthday. He and Kelly Rohrbach split a month after she hit that milestone too. Bar Refaeli made it four months.\u003c/p>\n\u003cp>To be clear, age gaps, in and of themselves, aren’t the problem. We’re all going to fall in love with who we fall in love with, and sometimes that person just wasn’t born in the same era — love is love is love. When \u003ca href=\"https://www.kqed.org/arts/13869451/keanu-reeves-dennis-quaid-and-our-national-obsession-with-womens-age\">we pass judgement on younger women who date older men\u003c/a>, we often strip them of their agency and reduce them to trophies.\u003c/p>\n\u003cp>[aside postid='arts_13869451']But the issue with DiCaprio is not love with an age gap. The longer this all goes on, the less his situation looks even vaguely love-related. It looks like a pattern of swiftly replacing one model for the next once they hit a specific age milestone. Not all of them even make it that far — Blake Lively was 23 when the couple split (he was 36), Erin Heatherton was 22 (he was 37), Toni Garrn was 21 (he was 39).\u003c/p>\n\u003cp>From the outside, it would appear these young women are interchangeable to him — disposable, like cars he’s done driving or suits he’s sick of wearing. They are reduced to trophies by the very circumstance of getting involved with DiCaprio in the first place, because we all know they’ll be discarded before they have time to develop a single, solitary wrinkle. (\u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/leonardo-dicaprios-girlfriend-turned-25-27265735\">The end of his relationship with Morrone was widely predicted\u003c/a> when her 25th birthday rolled around.)\u003c/p>\n\u003cp>Even when we take into account that these relationships are clearly consensual, it’s still surprising that, throughout all of the post-#MeToo conversations about the negative effects of power imbalances in relationships and sexual situations, DiCaprio hasn’t really come up. If we now recognize that Monica Lewinsky was in a seriously vulnerable position during her affair with Bill Clinton, shouldn’t we also be thinking about the welfare of these women?\u003c/p>\n\u003cp>I’d argue that one of the reasons we haven’t is because these very young women are some of the most beautiful in the world. As such, there is an assumption that, since they could probably have anyone they wanted, if they end up choosing DiCaprio, he must be a good choice. The reality is, being exceptionally beautiful doesn’t make you worldly before your time, or necessarily equipped to deal with a man who is twice your age, world famous and who has been playing the same game with legions of women since before you were even born.\u003c/p>\n\u003cp>One of the reasons we’ve traditionally processed DiCaprio’s love life via jokes rather than actual judgment is because the actor has not broken any laws that we know of. That \u003ca href=\"https://www.cosmopolitan.com/entertainment/celebs/a30359722/leonardo-dicaprio-camila-morrone-relationship-timeline-age-gap/\">DiCaprio first met Camila Morrone when he was 35 and she was 12\u003c/a> doesn’t come up nearly as often as it should. (They were introduced by Morrone’s stepfather, Al Pacino.) That many of the women DiCaprio dates aren’t old enough to legally drink when he first meets them has also been under-discussed.\u003c/p>\n\u003cp>[aside postid='arts_13918217']Another major factor that’s been keeping DiCaprio off the hook is that he was a kid himself when he first came to prominence. His roles playing troubled teens in 1993’s \u003cem>What’s Eating Gilbert Grape?\u003c/em> and 1996’s \u003cem>Romeo & Juliet\u003c/em> are seared into the culture. He was just 22 when he made \u003cem>Titanic\u003c/em>. Because of this, even as he ages — dad bod and all — we still see a very young man when we look at him. If he looked more like Pedro Pascal or David Harbour, or if he’d only become famous in his thirties, we’d have noticed the depth of his dating life’s ick factor way sooner.\u003c/p>\n\u003cp>It’s also worth remembering that DiCaprio’s penchant for chasing young models wasn’t immediately obvious. In his younger years, he had two longterm relationships. The first was with Gisele Bundchen (six years his junior) for five years, and Bar Refaeli (10 years his junior) for five and a half. Perfectly normal dating behavior for a man in his twenties and thirties. Was it weird that the two women so closely resembled each other? A little. But it’s significantly stranger now that \u003cem>all\u003c/em> of the women who have followed Bunchen and Refaeli have also looked like Bundchen and Refaeli. (Morrone was a brunette — that’s the closest DiCaprio has come to broadening his field of vision.)\u003c/p>\n\u003cfigure id=\"attachment_13924888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg\" alt=\"A photo of a white, fair-haired man in a suit embracing a tall slender woman with long blond hair, next to a photo of a different tall slender woman with long blond hair.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1920x1782.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) DiCaprio with Gisele Bundchen in 2005, (R) Bar Refaeli in 2007. \u003ccite>((L) Jeffrey Mayer/WireImage (R) FRANCOIS GUILLOT/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his well-known status as a serial dater, DiCaprio has never been portrayed as unlucky in love. This is, of course, because he’s a man — no famous man, regardless of individual circumstances, is ever presented that way. But in DiCaprio’s case, there is also an assumption that he’s not really taking any of these women seriously in the first place. Collectively, we have accepted that this man is going to discard the young women he surrounds himself with, then quickly replace them.\u003c/p>\n\u003cp>It’s about time we start examining how much we want to continue to turn a blind eye, laugh at the jokes and move on. Because when we as a nation regularly laugh at women being treated as disposable objects, we’re normalizing it. And that keeps archetypes about rich men as playboys and beautiful women as playthings in the culture. Do we really want those grossly outdated constructs still hanging around in 2023?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When it comes to DiCaprio, just because a behavior is technically legal doesn’t mean that something very disturbing isn’t going on in full view of the world. As \u003ca href=\"https://twitter.com/aaronhoyland/status/1622986572303044608\">one shrewd Twitter user noted this week\u003c/a>: “I really don’t think the threshold for acceptable behavior towards women should be, ‘But is it criminal?’”\u003c/p>\n\n",
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"excerpt": "Sources close to DiCaprio have denied he’s dating a 19-year-old model — but his relationship history speaks for itself.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter raised a collective eyebrow earlier this week when photos emerged of 48-year-old \u003ca href=\"https://twitter.com/DrProudman/status/1622537376160423936\">Leonardo DiCaprio hanging out with a 19-year-old French model named Eden Polani.\u003c/a> No one was surprised, of course, but assumptions about what was happening quickly spread online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The age gap between DiCaprio and Polani is similar to the one between Pedro Pascal (47) and Bella Ramsey (19) from \u003cem>The Last of Us\u003c/em>, people pointed out. It’s also similar to the one between David Harbour (47) and Millie Bobby Brown (18) from \u003cem>Stranger Things\u003c/em>, others chimed in.\u003c/p>\n\u003cp>Wouldn’t we all be uncomfortable if either of these duos became couples? The short answer is, hell yes, we would. And not just because the women in question are still young enough to play underage people on television, or that those men play their guardians.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Wednesday, per TMZ, “a source close to DiCaprio” denied that he’s dating Polani. As if to prove this, TMZ noted that DiCaprio has also recently been linked with 23-year-old model \u003ca href=\"https://www.instagram.com/victoriaalamas/?hl=en\">Victoria Lamas\u003c/a> and has been \u003ca href=\"https://www.tmz.com/2023/01/03/leonardo-dicaprio-vacation-yacht-women-st-barts-caribbean-photos/\">photographed on a yacht with a group of young models\u003c/a>. It’s not terribly surprising that the public jumped to conclusions about DiCaprio and Polani, given how he’s been behaving for literally decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The world has known about DiCaprio’s dating preferences for a very, very long time — namely, that he appears interested almost exclusively in young models, and that he doesn’t date women past the age of 25. DiCaprio’s compulsion to date and then dump women under 25 has been the topic of too many jokes to list here, and it would be boring for me to do so — you’ve already heard them. We all have.\u003c/p>\n\u003cp>Someone on Reddit even made a handy graph in 2021:\u003c/p>\n\u003cfigure id=\"attachment_13924887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924887\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png\" alt=\"A graph showing, on one line, Leonardo DiCaprio's age, and on another beneath it, the fluctuating ages of his girlfriends, none of whom are with him past 25.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TrustLittleBrotherReddit.png 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stark, isn’t it? \u003ccite>(TrustLittleBrother on Reddit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What the graph doesn’t include are the many flings he had with models in the ‘90s (everyone was the same age, it’s fine) or, more recently, the end of DiCaprio’s relationship with Camila Morrone. The couple lasted four years and came to an end three months after the model turned — you’ve guessed it! — 25. Incidentally, DiCaprio and Nina Agdal broke up two months after her 25th birthday. He and Kelly Rohrbach split a month after she hit that milestone too. Bar Refaeli made it four months.\u003c/p>\n\u003cp>To be clear, age gaps, in and of themselves, aren’t the problem. We’re all going to fall in love with who we fall in love with, and sometimes that person just wasn’t born in the same era — love is love is love. When \u003ca href=\"https://www.kqed.org/arts/13869451/keanu-reeves-dennis-quaid-and-our-national-obsession-with-womens-age\">we pass judgement on younger women who date older men\u003c/a>, we often strip them of their agency and reduce them to trophies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the issue with DiCaprio is not love with an age gap. The longer this all goes on, the less his situation looks even vaguely love-related. It looks like a pattern of swiftly replacing one model for the next once they hit a specific age milestone. Not all of them even make it that far — Blake Lively was 23 when the couple split (he was 36), Erin Heatherton was 22 (he was 37), Toni Garrn was 21 (he was 39).\u003c/p>\n\u003cp>From the outside, it would appear these young women are interchangeable to him — disposable, like cars he’s done driving or suits he’s sick of wearing. They are reduced to trophies by the very circumstance of getting involved with DiCaprio in the first place, because we all know they’ll be discarded before they have time to develop a single, solitary wrinkle. (\u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/leonardo-dicaprios-girlfriend-turned-25-27265735\">The end of his relationship with Morrone was widely predicted\u003c/a> when her 25th birthday rolled around.)\u003c/p>\n\u003cp>Even when we take into account that these relationships are clearly consensual, it’s still surprising that, throughout all of the post-#MeToo conversations about the negative effects of power imbalances in relationships and sexual situations, DiCaprio hasn’t really come up. If we now recognize that Monica Lewinsky was in a seriously vulnerable position during her affair with Bill Clinton, shouldn’t we also be thinking about the welfare of these women?\u003c/p>\n\u003cp>I’d argue that one of the reasons we haven’t is because these very young women are some of the most beautiful in the world. As such, there is an assumption that, since they could probably have anyone they wanted, if they end up choosing DiCaprio, he must be a good choice. The reality is, being exceptionally beautiful doesn’t make you worldly before your time, or necessarily equipped to deal with a man who is twice your age, world famous and who has been playing the same game with legions of women since before you were even born.\u003c/p>\n\u003cp>One of the reasons we’ve traditionally processed DiCaprio’s love life via jokes rather than actual judgment is because the actor has not broken any laws that we know of. That \u003ca href=\"https://www.cosmopolitan.com/entertainment/celebs/a30359722/leonardo-dicaprio-camila-morrone-relationship-timeline-age-gap/\">DiCaprio first met Camila Morrone when he was 35 and she was 12\u003c/a> doesn’t come up nearly as often as it should. (They were introduced by Morrone’s stepfather, Al Pacino.) That many of the women DiCaprio dates aren’t old enough to legally drink when he first meets them has also been under-discussed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Another major factor that’s been keeping DiCaprio off the hook is that he was a kid himself when he first came to prominence. His roles playing troubled teens in 1993’s \u003cem>What’s Eating Gilbert Grape?\u003c/em> and 1996’s \u003cem>Romeo & Juliet\u003c/em> are seared into the culture. He was just 22 when he made \u003cem>Titanic\u003c/em>. Because of this, even as he ages — dad bod and all — we still see a very young man when we look at him. If he looked more like Pedro Pascal or David Harbour, or if he’d only become famous in his thirties, we’d have noticed the depth of his dating life’s ick factor way sooner.\u003c/p>\n\u003cp>It’s also worth remembering that DiCaprio’s penchant for chasing young models wasn’t immediately obvious. In his younger years, he had two longterm relationships. The first was with Gisele Bundchen (six years his junior) for five years, and Bar Refaeli (10 years his junior) for five and a half. Perfectly normal dating behavior for a man in his twenties and thirties. Was it weird that the two women so closely resembled each other? A little. But it’s significantly stranger now that \u003cem>all\u003c/em> of the women who have followed Bunchen and Refaeli have also looked like Bundchen and Refaeli. (Morrone was a brunette — that’s the closest DiCaprio has come to broadening his field of vision.)\u003c/p>\n\u003cfigure id=\"attachment_13924888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg\" alt=\"A photo of a white, fair-haired man in a suit embracing a tall slender woman with long blond hair, next to a photo of a different tall slender woman with long blond hair.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gis-and-bar-1920x1782.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) DiCaprio with Gisele Bundchen in 2005, (R) Bar Refaeli in 2007. \u003ccite>((L) Jeffrey Mayer/WireImage (R) FRANCOIS GUILLOT/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his well-known status as a serial dater, DiCaprio has never been portrayed as unlucky in love. This is, of course, because he’s a man — no famous man, regardless of individual circumstances, is ever presented that way. But in DiCaprio’s case, there is also an assumption that he’s not really taking any of these women seriously in the first place. Collectively, we have accepted that this man is going to discard the young women he surrounds himself with, then quickly replace them.\u003c/p>\n\u003cp>It’s about time we start examining how much we want to continue to turn a blind eye, laugh at the jokes and move on. Because when we as a nation regularly laugh at women being treated as disposable objects, we’re normalizing it. And that keeps archetypes about rich men as playboys and beautiful women as playthings in the culture. Do we really want those grossly outdated constructs still hanging around in 2023?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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