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"content": "\u003cp>Ageism is real in Hollywood. And actresses, no matter how stunning, talented or charismatic, are consistently reminded that there is a silent yet deafening ticking clock on their careers.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Meanwhile, men in Hollywood seem to enjoy a shelf life that’s often decades longer than those afforded to women. And as actresses have \u003ca href=\"https://www.npr.org/2013/06/30/197390707/casting-call-hollywood-needs-more-women\">repeatedly noted\u003c/a>, it’s not uncommon for men in their 60s to play romantic leads opposite costars who are decades younger.\u003c/p>\n\u003cp>On Sunday, Michelle Yeoh made it clear she has had it with the double standard. In her \u003ca href=\"https://www.npr.org/2023/03/12/1158764789/michelle-yeoh-best-actress-oscar-everything-everywhere-all-at-once\">history-making acceptance speech\u003c/a> for best actress at the 95th Academy Awards, she called out the sexism that often disposes of female veteran powerhouses once they’ve lost their youthful glow.\u003c/p>\n\u003cp>“Ladies, don’t let anybody tell you you are ever past your prime. Never give up!” the \u003cem>Everything Everywhere All at Once\u003c/em> actress said to cheers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v9wrK_j6Cc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yeoh, who is also the first Asian woman to win the category, is months away from turning 61. That makes her nearly 21 years older than most female winners — the average age is 39, according to a recent \u003ca href=\"https://news.sky.com/story/oscars-2023-diversity-v-data-what-analysis-of-94-years-of-winners-tells-us-about-the-academy-awards-11635455#:~:text=The%20average%20male%20winner%20is,average%20female%20winner%20is%2039.\">study by Sky News\u003c/a>. The average age of male Academy Award winners is 47.\u003c/p>\n\u003ch3>The gender gap at the Oscars is closing but there’s little change across the industry\u003c/h3>\n\u003cp>Fortunately for women in film, the gap has closed in the past six years. That’s because the best actress awards have gone to women over 40. Frances McDormand won in 2018 and 2021 at 60 and 63, respectively; Olivia Colman was 45 for her win 2019; Renée Zellweger was 50 when she got a statue in 2020; and Jessica Chastain was 44 when she won last year.\u003c/p>\n\u003cp>[aside postid='arts_13869451']But the recent shift at the Oscars is not an indication of a broader, more meaningful change across the industry, Lan Duong, a professor of cinema and media studies at the University of Southern California, told NPR.\u003c/p>\n\u003cp>Ageism, Duong said, is not going away because films are still made to satisfy the male gaze, which inevitably translates into objectifying women. “It’s often a very heterosexual, patriarchal male gaze. And it’s often directed at young, mostly nubile women’s bodies,” she said.\u003c/p>\n\u003cp>A \u003ca href=\"https://seejane.org/gender-in-media-news-release/tena-partners-with-the-geena-davis-institute-on-gender-in-media-to-launch-new-ageless-test-to-tackle-ageism-in-media/\">2020 study by TENA and the Geena Davis Institute on Gender in Media\u003c/a> found that “[aging] is still fueled by traditional and outdated stereotypes and preconceptions; particularly in the way the older generation are portrayed in global film and television with little to zero ‘real’ portrayals or representation of older women on screen.”\u003c/p>\n\u003cp>As part of the study, researchers reviewed the 30 highest grossing films of 2019 in Germany, France, the United Kingdom, and the United States, watching to see if they passed what they call, the “Ageless Test.” That required a film to have at least one female character 50 or older who is integral to the plot in such a way that their removal would have significant effect. Also, the character must be humanized, beyond stereotypes.\u003c/p>\n\u003cp>The findings were grim. Of those characters who were 50 or older, 75% were male. No female characters over 49 appeared in leading roles, while two men 50 or older were featured as leading men. Additionally, female characters in that age range were more likely to be depicted as lonely — 19% — and homebound — 16% — than male characters.\u003c/p>\n\u003ch3>Audiences give reasons for hope\u003c/h3>\n\u003cp>Still, Duong said there is hope that older (or even just middle aged), established actresses will have more opportunities to stay in the picture and in the public eye. It comes down to money.\u003c/p>\n\u003cp>[aside postid='arts_13920514']Duong said the undeniable commercial success of \u003cem>Everything Everywhere All at Once \u003c/em>shows that audiences are willing, even eager, to watch a woman like Yeoh, go from being a martial arts queen “to playing an older woman who’s struggling as an immigrant mother with her queer daughter.”\u003c/p>\n\u003cp>The arthouse-sci-fi-heartwarming-action movie has has grossed nearly\u003ca href=\"https://www.boxofficemojo.com/title/tt6710474/?ref_=bo_tt_ti\"> $74 million in the U.S. and more than $106 million worldwide\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Duong added: “It speaks of an audience that is appreciative of moving away from images of women as only objects of desire.” Even those who crave more superhero-based action films, are open to seeing different types of women in those roles, Duong noted. In \u003cem>Everything Everywhere All at Once\u003c/em>, “Yeoh moves in multiverses, which is not too far from a Marvel movie. But it’s infused with energy and fun and melancholy and loss. It’s a full-bodied character and it has resonated with people.”\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=Michelle+Yeoh+called+out+sexism+in+Hollywood.+Will+it+help+close+the+gender+gap%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Duong said the undeniable commercial success of \u003cem>Everything Everywhere All at Once \u003c/em>shows that audiences are willing, even eager, to watch a woman like Yeoh, go from being a martial arts queen “to playing an older woman who’s struggling as an immigrant mother with her queer daughter.”\u003c/p>\n\u003cp>The arthouse-sci-fi-heartwarming-action movie has has grossed nearly\u003ca href=\"https://www.boxofficemojo.com/title/tt6710474/?ref_=bo_tt_ti\"> $74 million in the U.S. and more than $106 million worldwide\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Duong added: “It speaks of an audience that is appreciative of moving away from images of women as only objects of desire.” Even those who crave more superhero-based action films, are open to seeing different types of women in those roles, Duong noted. In \u003cem>Everything Everywhere All at Once\u003c/em>, “Yeoh moves in multiverses, which is not too far from a Marvel movie. But it’s infused with energy and fun and melancholy and loss. It’s a full-bodied character and it has resonated with people.”\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=Michelle+Yeoh+called+out+sexism+in+Hollywood.+Will+it+help+close+the+gender+gap%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Margaret Atwood’s ‘Old Babes in the Wood’ Tackles What It Means to Be Human",
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"content": "\u003cp>Margaret Atwood, without a doubt one of the greatest living writers, is best known for her incredibly successful and award-winning novels \u003cem>The Handmaid’s Tale\u003c/em> and, more recently, \u003cem>The Testaments\u003c/em>.\u003c/p>\n\u003cp>However, she is also an extraordinary short story writer — and \u003cem>Old Babes in the Wood\u003c/em>, her first collection in almost a decade, is a dazzling mixture of stories that explore what it means to be human while also showcasing Atwood’s gifted imagination and great sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13865676']\u003cem>Old Babes in the Wood\u003c/em> contains 15 stories, some of which have previously appeared in \u003cem>The New Yorker\u003c/em> and \u003cem>The New York Times Magazine\u003c/em>. The collection is divided into three parts. The first and last, titled “Tig & Nell” and “Nell & Tig,” revolve around a married couple and look, more or less, at their entire lives — what they’ve done and felt, the people that left a mark on them, their thoughts. These stories, which taken together feel like a mosaic novella more than literary bookends for a collection, offer a deep, heartfelt, engrossing look at the minutiae of life. The middle part, titled “My Evil Mother,” is perhaps the crowning jewel in this collection and brings together eight unique tales that vary wildly in terms of tone, voice, theme, and format. From imagined interviews and stories told by aliens to the circle of life and a snail trapped in the body of a woman, these tales show Atwood’s characteristic insight and intellect while also putting on full display her ability to make us laugh, her chronicler’s eye for detail, and her unparalleled imagination.\u003c/p>\n\u003cp>There are no throwaway stories in this collection, but several demand their time in the spotlight. “Morte de Smudgie,” about the death of a cat, is a perfect portrait of the unique kind of grief that follows the loss of a beloved pet. “My Evil Mother” follows a mother-daughter relationship through the years and shows how, and why, many people eventually become just like their parents. In “The Dead Interview,” Atwood “interviews” author George Orwell through a medium in a trance. Part tribute and part celebratory deconstruction of Orwell’s oeuvre and persona, this one becomes unexpectedly funny and shows just how on top of everything Atwood is as she tries to explain things like the internet, getting “cancelled,” anti-vaxxers, and even the January 6 coup attempt to Orwell. “Impatient Griselda” explores, through the translated voice of an alien that looks like an octopus and doesn’t have all the words it needs to communicate perfectly, estrangement and miscommunication. “Bad Teeth” is a fun vignette about friendship that follows two old friends as one of them insists on asking why the other had an affair with a man with bad teeth, but the affair never happened.\u003c/p>\n\u003cfigure id=\"attachment_13926191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg\" alt=\"The cover of ‘Old Babes in the Wood’ by Margaret Atwood shows a simple illustration of a cat’s face in close-up.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7.jpg 1693w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Babes in the Wood’ by Margaret Atwood. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Death by Clamshell,” Hypatia of Alexandria narrates her own murder and offers her thoughts on how she’s morphed into different things to different groups of people in the centuries since her death. And she does so with great energy and a good sense of humor about it: “I try to look on the bright side: I did not have to endure the indignities of extreme old age.” In “Metempsychosis: or, The Journey of the Soul,” the narrator is a snail whose soul “jumped directly from snail to human” after it got sprayed with a homemade, environmentally friendly pesticide. The snail’s desire to return to its previous form, and its understandable shock at human behavior and practices, quickly morph into a truly eye-opening, heartfelt read about yearning and feeling out of place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Old Babes in the Wood\u003c/em> is touching, smart, funny, and unique in equal measure. Atwood, who’s always had her finger on the pulse of modern society, tackles everything from love and the afterlife to the importance of language and the pandemic (fans of \u003cem>The Handmaid’s Tale\u003c/em> will love “Freeforall,” which is a return to themes of motherhood with a political angle and plenty of social commentary). Throughout all these stories, Atwood’s usual wit is always present, and she offers plenty of memorable characters and lines. “That is what it is to be human, I suppose: to question the terms of existence,” says the snail trapped inside a woman in “Metempsychosis.” That line echoes throughout the collection.\u003c/p>\n\u003cp>[aside postid='arts_10990325']It’s been almost a decade since Atwood’s previous short story collection, \u003cem>Stone Mattress\u003c/em>, was published. Not surprisingly, the wait was worth it. \u003cem>Old Babes in the Wood\u003c/em> showcases Atwood’s imagination and her perennial obsession with getting to the core of what makes us human while dishing out plenty of entertainment and eye-opening revelations along the way. At this point, Atwood has nothing left to prove. But she writes like she wants the world to notice her work — and that fire makes it easy to react every time she publishes something: We know we must sit down, read, and be in awe of her talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood%27s+%27Old+Babes+in+the+Wood%27+tackles+what+it+means+to+be+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Margaret Atwood, without a doubt one of the greatest living writers, is best known for her incredibly successful and award-winning novels \u003cem>The Handmaid’s Tale\u003c/em> and, more recently, \u003cem>The Testaments\u003c/em>.\u003c/p>\n\u003cp>However, she is also an extraordinary short story writer — and \u003cem>Old Babes in the Wood\u003c/em>, her first collection in almost a decade, is a dazzling mixture of stories that explore what it means to be human while also showcasing Atwood’s gifted imagination and great sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Old Babes in the Wood\u003c/em> contains 15 stories, some of which have previously appeared in \u003cem>The New Yorker\u003c/em> and \u003cem>The New York Times Magazine\u003c/em>. The collection is divided into three parts. The first and last, titled “Tig & Nell” and “Nell & Tig,” revolve around a married couple and look, more or less, at their entire lives — what they’ve done and felt, the people that left a mark on them, their thoughts. These stories, which taken together feel like a mosaic novella more than literary bookends for a collection, offer a deep, heartfelt, engrossing look at the minutiae of life. The middle part, titled “My Evil Mother,” is perhaps the crowning jewel in this collection and brings together eight unique tales that vary wildly in terms of tone, voice, theme, and format. From imagined interviews and stories told by aliens to the circle of life and a snail trapped in the body of a woman, these tales show Atwood’s characteristic insight and intellect while also putting on full display her ability to make us laugh, her chronicler’s eye for detail, and her unparalleled imagination.\u003c/p>\n\u003cp>There are no throwaway stories in this collection, but several demand their time in the spotlight. “Morte de Smudgie,” about the death of a cat, is a perfect portrait of the unique kind of grief that follows the loss of a beloved pet. “My Evil Mother” follows a mother-daughter relationship through the years and shows how, and why, many people eventually become just like their parents. In “The Dead Interview,” Atwood “interviews” author George Orwell through a medium in a trance. Part tribute and part celebratory deconstruction of Orwell’s oeuvre and persona, this one becomes unexpectedly funny and shows just how on top of everything Atwood is as she tries to explain things like the internet, getting “cancelled,” anti-vaxxers, and even the January 6 coup attempt to Orwell. “Impatient Griselda” explores, through the translated voice of an alien that looks like an octopus and doesn’t have all the words it needs to communicate perfectly, estrangement and miscommunication. “Bad Teeth” is a fun vignette about friendship that follows two old friends as one of them insists on asking why the other had an affair with a man with bad teeth, but the affair never happened.\u003c/p>\n\u003cfigure id=\"attachment_13926191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg\" alt=\"The cover of ‘Old Babes in the Wood’ by Margaret Atwood shows a simple illustration of a cat’s face in close-up.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7.jpg 1693w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Babes in the Wood’ by Margaret Atwood. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Death by Clamshell,” Hypatia of Alexandria narrates her own murder and offers her thoughts on how she’s morphed into different things to different groups of people in the centuries since her death. And she does so with great energy and a good sense of humor about it: “I try to look on the bright side: I did not have to endure the indignities of extreme old age.” In “Metempsychosis: or, The Journey of the Soul,” the narrator is a snail whose soul “jumped directly from snail to human” after it got sprayed with a homemade, environmentally friendly pesticide. The snail’s desire to return to its previous form, and its understandable shock at human behavior and practices, quickly morph into a truly eye-opening, heartfelt read about yearning and feeling out of place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Old Babes in the Wood\u003c/em> is touching, smart, funny, and unique in equal measure. Atwood, who’s always had her finger on the pulse of modern society, tackles everything from love and the afterlife to the importance of language and the pandemic (fans of \u003cem>The Handmaid’s Tale\u003c/em> will love “Freeforall,” which is a return to themes of motherhood with a political angle and plenty of social commentary). Throughout all these stories, Atwood’s usual wit is always present, and she offers plenty of memorable characters and lines. “That is what it is to be human, I suppose: to question the terms of existence,” says the snail trapped inside a woman in “Metempsychosis.” That line echoes throughout the collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been almost a decade since Atwood’s previous short story collection, \u003cem>Stone Mattress\u003c/em>, was published. Not surprisingly, the wait was worth it. \u003cem>Old Babes in the Wood\u003c/em> showcases Atwood’s imagination and her perennial obsession with getting to the core of what makes us human while dishing out plenty of entertainment and eye-opening revelations along the way. At this point, Atwood has nothing left to prove. But she writes like she wants the world to notice her work — and that fire makes it easy to react every time she publishes something: We know we must sit down, read, and be in awe of her talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood%27s+%27Old+Babes+in+the+Wood%27+tackles+what+it+means+to+be+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the End, It Was an ‘Everything Everywhere’ Night at the Oscars",
"headTitle": "In the End, It Was an ‘Everything Everywhere’ Night at the Oscars | KQED",
"content": "\u003cp>\u003cem>Everything Everywhere All at Once \u003c/em>didn’t win every award for which it was nominated — it was nominated for 11 and \u003ca href=\"https://www.npr.org/2023/03/12/1162147562/academy-awards-2023-the-complete-list-of-winners\">won seven\u003c/a>. But it won big ones, again and again: best picture, best original screenplay, best director, best supporting actor and actress, best actress, and best editing.\u003c/p>\n\u003cp>[aside postid='arts_13911018']For a stretch in the middle of the ceremony, it seemed like \u003cem>All Quiet On The Western Front \u003c/em>might be coming on very strong, but the pendulum swung back. What’s perhaps most surprising is how many films that once seemed like strong contenders for major awards wound up getting completely shut out: \u003cem>Tár, The Banshees of Inisherin\u003c/em>, \u003cem>The Fabelmans \u003c/em>and \u003cem>Elvis \u003c/em>all went home empty-handed.\u003c/p>\n\u003cp>\u003cstrong>All the first-time acting nominees led to some emotional moments.\u003c/strong>\u003c/p>\n\u003cp>Of the 20 acting nominees across lead and supporting categories, 16 were first-time nominees. Unsurprisingly, they swept all four awards. The awards for supporting actor and supporting actress went to two very, very different “newcomers.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M33WRVhh2Fw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1160156811/ke-huy-quan-best-supporting-actor-oscar-everything-everywhere-all-at-once\">Ke Huy Quan\u003c/a> once found himself shut out of Hollywood after a big start as a child actor in movies like \u003cem>Indiana Jones and the Temple of Doom\u003c/em> and \u003cem>The Goonies\u003c/em>. He came roaring back in \u003cem>Everything Everywhere All at Once\u003c/em>, and his speech highlighted the remarkable arc of his career. Jamie Lee Curtis also won for \u003cem>Everything Everywhere All At Once\u003c/em>, but her story could hardly be more different. Born to Oscar-nominated parents Tony Curtis and Janet Leigh, she became a star after \u003cem>Halloween \u003c/em>in 1978, when she was just turning 20 years old. In the 45 years since then, she’s made comedies like \u003cem>Trading Places \u003c/em>and \u003cem>A Fish Called Wanda\u003c/em>, family movies like \u003cem>Freaky Friday \u003c/em>and \u003cem>My Girl\u003c/em>, and — indeed — more horror films. And she expressed her gratitude for all the many, many people she’s worked with over the years.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1158764789/michelle-yeoh-best-actress-oscar-everything-everywhere-all-at-once\">Michelle Yeoh,\u003c/a> a superstar who became the first Asian woman to win best actress, was \u003cem>Everything Everywhere’\u003c/em>s third acting winner. And she also acknowledged her parents, her family, and the history that she and the film were making. Finally, Brendan Fraser, who had a hot film career as a very handsome young man and then saw the industry’s interest in him wane, leaving a long period of relative quiet before his role in \u003cem>The Whale \u003c/em>this year, won. He’s another example of the many ways Hollywood can abandon or fail to see performers — and sometimes, even if not often, it can find them again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JYqYIeCHYAg\u003c/p>\n\u003cp>\u003cstrong>They really wanted this to be the Comeback Oscars. \u003c/strong>\u003c/p>\n\u003cp>Host Jimmy Kimmel, in his monologue, talked about 2022 as the year people came back to theaters, two years after COVID upended the movie business. Huge movies, particularly \u003cem>Avatar: The Way of Water\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>, were both moneymakers and best picture nominees. This year’s message was plain: we’re back. Perhaps it’s fitting that \u003cem>Avatar \u003c/em>won for visual effects and \u003cem>Top Gun: Maverick \u003c/em>for sound — the spectacles won awards that relate, in part, to their status as such.\u003c/p>\n\u003cp>[aside postid='arts_13926047']Making this the comeback Oscars was, of course, consistent with the industry’s chosen narrative of rebirth. But it’s also part of the Academy’s effort to revive interest in the ceremony after years of hearing the theory that the ratings were dropping because blockbusters weren’t being nominated. That theory might turn out to be right or it might be wrong, but if this year didn’t do it, then nominating big movies isn’t a solution to the ratings problem as has so often been speculated.\u003c/p>\n\u003cp>\u003cstrong>The Academy’s record when it comes to inclusion remains mixed, at best. \u003c/strong>\u003c/p>\n\u003cp>The milestones of the night — Michelle Yeoh and Ke Huy Quan being the first and second Asian performers to win in their respective categories was the most widely noted — sat alongside much more dispiriting facts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2qxgehkLT9I\u003c/p>\n\u003cp>For instance,\u003ca href=\"https://www.npr.org/2023/02/14/1156555360/black-panther-wakanda-forever-costume-design-ruth-e-carter\"> Ruth Carter, \u003c/a>who won for the costumes in \u003cem>Black Panther: Wakanda Forever\u003c/em>, became the first Black woman ever to win two Oscars, in a year in which Black nominees, particularly outside that one film, were limited. There are countless measures of representation, many more than just these two, and most are still painfully out of balance. But these notable firsts and these notable limitations juxtaposed continue to suggest that gains remain slow and uneven when they come at all.\u003c/p>\n\u003cp>\u003cstrong>The Oscars still love a war movie — and Netflix is a power.\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13925866']These things are subjective, of course, but it didn’t necessarily feel like there was a ton of enthusiastic buzz about the Netflix update of \u003cem>All Quiet on the Western Front \u003c/em>until it started winning awards. The film perhaps sneaked up on people, but as Oscar night wore on and it started to rake in prizes, including for score, cinematography, production design and international feature, the fondness that Academy voters still have for epic war sequences became perfectly clear. It was perhaps the most utterly traditional choice they could have made in every way \u003cem>except\u003c/em> for the fact that it’s a film that’s not in English.\u003c/p>\n\u003cp>At the same time, it was a reminder that while only a few years ago, Netflix was trying to wedge itself into the Oscars, it’s now established a home there. Both the big haul for \u003cem>All Quiet \u003c/em>and the nomination for Ana de Armas in \u003cem>Blonde\u003c/em> seemed like testaments to the streamer’s capacity to campaign.\u003c/p>\n\u003cp>\u003cstrong>The Oscars remain, as always … the Oscars. \u003c/strong>\u003c/p>\n\u003cp>This was a year in which they didn’t try much in terms of change; in fact, the goal seemed to be the most normal Oscars possible. Some montages, a nice In Memoriam segment, an okay monologue, solid musical performances from Lady Gaga and Rihanna among others, and a return to theater seating after last year’s cocktail tables and the train station set the year before. It looked and felt fully, and full-throatedly, traditional. No tricks, no gimmicks, just the Oscars. And, of course, David Byrne performing with hot dog fingers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xBtiNfQPfoQ\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=In+the+end%2C+it+was+an+%27Everything+Everywhere%27+night+at+the+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "‘Everything Everywhere All at Once’ won seven of the 11 Oscars it was nominated for, including Best Actress for Michelle Yeoh. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Everything Everywhere All at Once \u003c/em>didn’t win every award for which it was nominated — it was nominated for 11 and \u003ca href=\"https://www.npr.org/2023/03/12/1162147562/academy-awards-2023-the-complete-list-of-winners\">won seven\u003c/a>. But it won big ones, again and again: best picture, best original screenplay, best director, best supporting actor and actress, best actress, and best editing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For a stretch in the middle of the ceremony, it seemed like \u003cem>All Quiet On The Western Front \u003c/em>might be coming on very strong, but the pendulum swung back. What’s perhaps most surprising is how many films that once seemed like strong contenders for major awards wound up getting completely shut out: \u003cem>Tár, The Banshees of Inisherin\u003c/em>, \u003cem>The Fabelmans \u003c/em>and \u003cem>Elvis \u003c/em>all went home empty-handed.\u003c/p>\n\u003cp>\u003cstrong>All the first-time acting nominees led to some emotional moments.\u003c/strong>\u003c/p>\n\u003cp>Of the 20 acting nominees across lead and supporting categories, 16 were first-time nominees. Unsurprisingly, they swept all four awards. The awards for supporting actor and supporting actress went to two very, very different “newcomers.”\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/M33WRVhh2Fw'\n title='//www.youtube.com/embed/M33WRVhh2Fw'\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>\u003ca href=\"https://www.npr.org/2023/03/12/1160156811/ke-huy-quan-best-supporting-actor-oscar-everything-everywhere-all-at-once\">Ke Huy Quan\u003c/a> once found himself shut out of Hollywood after a big start as a child actor in movies like \u003cem>Indiana Jones and the Temple of Doom\u003c/em> and \u003cem>The Goonies\u003c/em>. He came roaring back in \u003cem>Everything Everywhere All at Once\u003c/em>, and his speech highlighted the remarkable arc of his career. Jamie Lee Curtis also won for \u003cem>Everything Everywhere All At Once\u003c/em>, but her story could hardly be more different. Born to Oscar-nominated parents Tony Curtis and Janet Leigh, she became a star after \u003cem>Halloween \u003c/em>in 1978, when she was just turning 20 years old. In the 45 years since then, she’s made comedies like \u003cem>Trading Places \u003c/em>and \u003cem>A Fish Called Wanda\u003c/em>, family movies like \u003cem>Freaky Friday \u003c/em>and \u003cem>My Girl\u003c/em>, and — indeed — more horror films. And she expressed her gratitude for all the many, many people she’s worked with over the years.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1158764789/michelle-yeoh-best-actress-oscar-everything-everywhere-all-at-once\">Michelle Yeoh,\u003c/a> a superstar who became the first Asian woman to win best actress, was \u003cem>Everything Everywhere’\u003c/em>s third acting winner. And she also acknowledged her parents, her family, and the history that she and the film were making. Finally, Brendan Fraser, who had a hot film career as a very handsome young man and then saw the industry’s interest in him wane, leaving a long period of relative quiet before his role in \u003cem>The Whale \u003c/em>this year, won. He’s another example of the many ways Hollywood can abandon or fail to see performers — and sometimes, even if not often, it can find them again.\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/JYqYIeCHYAg'\n title='//www.youtube.com/embed/JYqYIeCHYAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>They really wanted this to be the Comeback Oscars. \u003c/strong>\u003c/p>\n\u003cp>Host Jimmy Kimmel, in his monologue, talked about 2022 as the year people came back to theaters, two years after COVID upended the movie business. Huge movies, particularly \u003cem>Avatar: The Way of Water\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>, were both moneymakers and best picture nominees. This year’s message was plain: we’re back. Perhaps it’s fitting that \u003cem>Avatar \u003c/em>won for visual effects and \u003cem>Top Gun: Maverick \u003c/em>for sound — the spectacles won awards that relate, in part, to their status as such.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Making this the comeback Oscars was, of course, consistent with the industry’s chosen narrative of rebirth. But it’s also part of the Academy’s effort to revive interest in the ceremony after years of hearing the theory that the ratings were dropping because blockbusters weren’t being nominated. That theory might turn out to be right or it might be wrong, but if this year didn’t do it, then nominating big movies isn’t a solution to the ratings problem as has so often been speculated.\u003c/p>\n\u003cp>\u003cstrong>The Academy’s record when it comes to inclusion remains mixed, at best. \u003c/strong>\u003c/p>\n\u003cp>The milestones of the night — Michelle Yeoh and Ke Huy Quan being the first and second Asian performers to win in their respective categories was the most widely noted — sat alongside much more dispiriting facts.\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/2qxgehkLT9I'\n title='//www.youtube.com/embed/2qxgehkLT9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For instance,\u003ca href=\"https://www.npr.org/2023/02/14/1156555360/black-panther-wakanda-forever-costume-design-ruth-e-carter\"> Ruth Carter, \u003c/a>who won for the costumes in \u003cem>Black Panther: Wakanda Forever\u003c/em>, became the first Black woman ever to win two Oscars, in a year in which Black nominees, particularly outside that one film, were limited. There are countless measures of representation, many more than just these two, and most are still painfully out of balance. But these notable firsts and these notable limitations juxtaposed continue to suggest that gains remain slow and uneven when they come at all.\u003c/p>\n\u003cp>\u003cstrong>The Oscars still love a war movie — and Netflix is a power.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These things are subjective, of course, but it didn’t necessarily feel like there was a ton of enthusiastic buzz about the Netflix update of \u003cem>All Quiet on the Western Front \u003c/em>until it started winning awards. The film perhaps sneaked up on people, but as Oscar night wore on and it started to rake in prizes, including for score, cinematography, production design and international feature, the fondness that Academy voters still have for epic war sequences became perfectly clear. It was perhaps the most utterly traditional choice they could have made in every way \u003cem>except\u003c/em> for the fact that it’s a film that’s not in English.\u003c/p>\n\u003cp>At the same time, it was a reminder that while only a few years ago, Netflix was trying to wedge itself into the Oscars, it’s now established a home there. Both the big haul for \u003cem>All Quiet \u003c/em>and the nomination for Ana de Armas in \u003cem>Blonde\u003c/em> seemed like testaments to the streamer’s capacity to campaign.\u003c/p>\n\u003cp>\u003cstrong>The Oscars remain, as always … the Oscars. \u003c/strong>\u003c/p>\n\u003cp>This was a year in which they didn’t try much in terms of change; in fact, the goal seemed to be the most normal Oscars possible. Some montages, a nice In Memoriam segment, an okay monologue, solid musical performances from Lady Gaga and Rihanna among others, and a return to theater seating after last year’s cocktail tables and the train station set the year before. It looked and felt fully, and full-throatedly, traditional. No tricks, no gimmicks, just the Oscars. And, of course, David Byrne performing with hot dog fingers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Loyalty and Affection Is Threatened in ‘A Spy Among Friends’",
"headTitle": "Loyalty and Affection Is Threatened in ‘A Spy Among Friends’ | KQED",
"content": "\u003cp>A main character in \u003cem>A Spy Among Friends\u003c/em> is one of the Soviet Union’s most notorious double agents. But you don’t need to know anything about him — or really about spying in general — to enjoy the show.\u003c/p>\n\u003cp>The MGM+ series starring Damian Lewis and Guy Pearce dramatizes the true story of two British spies and lifelong friends, Nicholas Elliott (Lewis) and Kim Philby (Pearce.) The latter became a notorious British defector. But it’s the personal betrayal that the creators hope to explore, not stolen microfilm or dead drops.\u003c/p>\n\u003cp>[aside postid='arts_13925365']“We’re not principally telling a spy story. We’re telling a story about friendship. This is a series about friendship among people who happen to be in the espionage business,” says director Nick Murphy.\u003c/p>\n\u003cp>Creator and executive producer Alexander Cary and Murphy use 12 hours to unspool this epic betrayal over several decades, moving back and forth in time to capture past conversations and memories.\u003c/p>\n\u003cp>“I think really we tried to tell an aftermath story here a little bit. So we have tried to dig into the emotional and intelligence and political damage left by Philby,” says Lewis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s anchored by a dayslong meeting between Elliott and Philby in Beirut in 1963, in which both men play a final cat-and-mouse. Elliott wants to extract a full confession; Philby is feigning innocence. The latter will soon flee Lebanon and defect to the Soviet Union, where he died in 1988.\u003c/p>\n\u003cp>“Philby took a system that really ignored checks and balances because there was just a belief that the system was impenetrable,” says Pearce.\u003c/p>\n\u003cp>Anna Maxwell Martin plays Lily Thomas, an MI5 agent interrogating Elliott after Philby’s defection, trying to find out what exactly happened between these two men in Beirut. “Could you explain to me why you let the most dangerous Soviet penetration agent this country has ever known leg it?” she asks Elliott.\u003c/p>\n\u003cp>Thomas — a composite character — is used to signal a change is coming as the old boys’ club gets shaken, charting the rise in the ’60s of women, people of color and members of the middle class to positions of authority.\u003c/p>\n\u003cp>“She is representative of the next generation and a different type of person entirely — a woman and not from the social militia these guys come from,” says Lewis. “She is really there to illustrate that it’s time for a change.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sup7AGbwwMc\u003c/p>\n\u003cp>The series is adapted from a book by Ben Macintyre, who also wrote about the origins of Britain’s elite Special Air Service which was recently turned into the series \u003cem>Rogue Heroes\u003c/em>.\u003c/p>\n\u003cp>Unlike that kinetic series, \u003cem>A Spy Among Friends\u003c/em> is more measured, though no less gripping. It’s a series awash in fedoras, clunky telephones and many, many glasses of whiskey. There is pelting rain, the crisp burn of cigarette paper and cups of tea rattling.\u003c/p>\n\u003cp>Because it deals with people hiding their true identity, small gestures like a raised eyebrow can telegraph what a character is really thinking. Feelings leak out, not gush. In one scene, Elliott secretly weeps about the loss of his friend amid rollicking laughter from among the audience of a stage comedy.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Philby’s betrayal cut deep in Britain’s psyche, more perhaps than American counterparts like Aldrich Ames or Robert Hanssen. Philby was a member of the privileged upper class, who went to the best schools and walked the elite corridors of power.\u003c/p>\n\u003cp>“He is an example of everything that is appealing about Englishmen and also dangerous,” says Cary. “Men of that upbringing were raised with huge levels of entitlement to believe they were the ruling class. That is the scar that England I think lives with today.”\u003c/p>\n\u003cp>Philby’s charm and guile also embarrassed the United States. He befriended Jim Angleton, a rising star at the newly created CIA who would go on to become its counter-intelligence chief, never guessing Philby was passing on his every confidence to Moscow.\u003c/p>\n\u003cp>As Philby tells his Russian handler after defecting: “It’s really remarkable the level of sentimentality and arrogance that it must take in order to be so willfully blind to the possibility that one of your own might possibly see things differently.”\u003c/p>\n\u003cp>Philby pierced the smugness of a strict system, posing a threat to the deluded status quo with the possibility that one of its leading lights was not buying into their project.\u003c/p>\n\u003cp>“It injures Britain,” says Murphy. “Everything that the class system holds itself up to be and therefore justifies itself with — the arguments that this class of people are honorable, they are trustworthy, they are decent people, they put country first, they put England first — is undermined by Philby.”\u003c/p>\n\u003cp>[aside postid='arts_13924687']On a more personal level, Philby’s deception shattered the decadeslong friendship between he and Elliott. It led Elliott to question whether there was ever a friendship in the first place. It is a show that makes you question all your relationships.\u003c/p>\n\u003cp>“I don’t think you need to have a Ph.D in British spycraft in order to understand that,” says Murphy. “What keeps you turning the pages in the story is not a regard for the intelligence safety of Britain. It’s a regard for the emotional survival of the characters.\u003c/p>\n\u003cp>Fittingly, Lewis and Pearce bonded nicely while making the series. \u003cem>A Spy Among Friends\u003c/em> marks the first time they’ve worked together and they ended up friends, planning visits. “I’m still waiting for that spare room,” Pearce teases Lewis. Replies Lewis: “The Pearce suite awaits.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A main character in \u003cem>A Spy Among Friends\u003c/em> is one of the Soviet Union’s most notorious double agents. But you don’t need to know anything about him — or really about spying in general — to enjoy the show.\u003c/p>\n\u003cp>The MGM+ series starring Damian Lewis and Guy Pearce dramatizes the true story of two British spies and lifelong friends, Nicholas Elliott (Lewis) and Kim Philby (Pearce.) The latter became a notorious British defector. But it’s the personal betrayal that the creators hope to explore, not stolen microfilm or dead drops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’re not principally telling a spy story. We’re telling a story about friendship. This is a series about friendship among people who happen to be in the espionage business,” says director Nick Murphy.\u003c/p>\n\u003cp>Creator and executive producer Alexander Cary and Murphy use 12 hours to unspool this epic betrayal over several decades, moving back and forth in time to capture past conversations and memories.\u003c/p>\n\u003cp>“I think really we tried to tell an aftermath story here a little bit. So we have tried to dig into the emotional and intelligence and political damage left by Philby,” says Lewis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s anchored by a dayslong meeting between Elliott and Philby in Beirut in 1963, in which both men play a final cat-and-mouse. Elliott wants to extract a full confession; Philby is feigning innocence. The latter will soon flee Lebanon and defect to the Soviet Union, where he died in 1988.\u003c/p>\n\u003cp>“Philby took a system that really ignored checks and balances because there was just a belief that the system was impenetrable,” says Pearce.\u003c/p>\n\u003cp>Anna Maxwell Martin plays Lily Thomas, an MI5 agent interrogating Elliott after Philby’s defection, trying to find out what exactly happened between these two men in Beirut. “Could you explain to me why you let the most dangerous Soviet penetration agent this country has ever known leg it?” she asks Elliott.\u003c/p>\n\u003cp>Thomas — a composite character — is used to signal a change is coming as the old boys’ club gets shaken, charting the rise in the ’60s of women, people of color and members of the middle class to positions of authority.\u003c/p>\n\u003cp>“She is representative of the next generation and a different type of person entirely — a woman and not from the social militia these guys come from,” says Lewis. “She is really there to illustrate that it’s time for a change.”\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/Sup7AGbwwMc'\n title='//www.youtube.com/embed/Sup7AGbwwMc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is adapted from a book by Ben Macintyre, who also wrote about the origins of Britain’s elite Special Air Service which was recently turned into the series \u003cem>Rogue Heroes\u003c/em>.\u003c/p>\n\u003cp>Unlike that kinetic series, \u003cem>A Spy Among Friends\u003c/em> is more measured, though no less gripping. It’s a series awash in fedoras, clunky telephones and many, many glasses of whiskey. There is pelting rain, the crisp burn of cigarette paper and cups of tea rattling.\u003c/p>\n\u003cp>Because it deals with people hiding their true identity, small gestures like a raised eyebrow can telegraph what a character is really thinking. Feelings leak out, not gush. In one scene, Elliott secretly weeps about the loss of his friend amid rollicking laughter from among the audience of a stage comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Philby’s betrayal cut deep in Britain’s psyche, more perhaps than American counterparts like Aldrich Ames or Robert Hanssen. Philby was a member of the privileged upper class, who went to the best schools and walked the elite corridors of power.\u003c/p>\n\u003cp>“He is an example of everything that is appealing about Englishmen and also dangerous,” says Cary. “Men of that upbringing were raised with huge levels of entitlement to believe they were the ruling class. That is the scar that England I think lives with today.”\u003c/p>\n\u003cp>Philby’s charm and guile also embarrassed the United States. He befriended Jim Angleton, a rising star at the newly created CIA who would go on to become its counter-intelligence chief, never guessing Philby was passing on his every confidence to Moscow.\u003c/p>\n\u003cp>As Philby tells his Russian handler after defecting: “It’s really remarkable the level of sentimentality and arrogance that it must take in order to be so willfully blind to the possibility that one of your own might possibly see things differently.”\u003c/p>\n\u003cp>Philby pierced the smugness of a strict system, posing a threat to the deluded status quo with the possibility that one of its leading lights was not buying into their project.\u003c/p>\n\u003cp>“It injures Britain,” says Murphy. “Everything that the class system holds itself up to be and therefore justifies itself with — the arguments that this class of people are honorable, they are trustworthy, they are decent people, they put country first, they put England first — is undermined by Philby.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a more personal level, Philby’s deception shattered the decadeslong friendship between he and Elliott. It led Elliott to question whether there was ever a friendship in the first place. It is a show that makes you question all your relationships.\u003c/p>\n\u003cp>“I don’t think you need to have a Ph.D in British spycraft in order to understand that,” says Murphy. “What keeps you turning the pages in the story is not a regard for the intelligence safety of Britain. It’s a regard for the emotional survival of the characters.\u003c/p>\n\u003cp>Fittingly, Lewis and Pearce bonded nicely while making the series. \u003cem>A Spy Among Friends\u003c/em> marks the first time they’ve worked together and they ended up friends, planning visits. “I’m still waiting for that spare room,” Pearce teases Lewis. Replies Lewis: “The Pearce suite awaits.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The First Oscars Lasted 15 Minutes — Plus Other Surprises From 95 Years of Awards",
"headTitle": "The First Oscars Lasted 15 Minutes — Plus Other Surprises From 95 Years of Awards | KQED",
"content": "\u003cp>You read that right — just 15 minutes. The first Academy Awards ceremony was held on May 1929, in the Blossom Room of the Hollywood Roosevelt Hotel. At the end of a private black-tie banquet, leading man Douglas Fairbanks announced the first ever winners of the golden statuettes.\u003c/p>\n\u003cp>All the recipients that year were silent movies, except one: \u003ca href=\"https://www.youtube.com/watch?v=yFaZOaLTkN0\">\u003cem>The Jazz Singer\u003c/em>\u003c/a>\u003cem>,\u003c/em> starring Al Jolson. \u003ca href=\"https://www.youtube.com/watch?v=zXOlmo943Vc\">The top prize in 1929 \u003c/a>went to \u003cem>Wings\u003c/em>, an airplane film similar to one of this year’s best picture nominees, \u003cem>Top Gun: Maverick\u003c/em>.\u003c/p>\n\u003cp>The following year, the Academy Award for Outstanding Production went to a war movie, \u003ca href=\"https://www.youtube.com/watch?v=grapXipP3fM\">\u003cem>All Quiet on the Western Front\u003c/em>\u003c/a> (a remake of that film is also a contender this year). \u003ca href=\"https://www.youtube.com/watch?v=Kt0mgFtdQwk\">Newsreel footage from 1930\u003c/a> captured the head of MGM, Louis B. Mayer, solemnly congratulating the movie’s producer Carl Laemmle, saying, “Sorry I didn’t win it, Mr. Laemmle. I know of no one I’d rather have beat me than you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kt0mgFtdQwk\u003c/p>\n\u003cp>As the silent movie era ended and the talkies began, Mayer had dreamed up the idea of an Academy for \u003ca href=\"https://www.findinglostangeles.com/all-content/2019/1/7/hollywoodland\">Hollywoodland\u003c/a>, as it was first known.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was afraid of the union movement that was kind of moving across the country, and he didn’t want the film industry to be unionized,” says Bruce Davis, a former CEO of the Academy for 30 years\u003cem>. “\u003c/em>So he thought, ‘Somehow, we’ll have this organization, and we’ll all just come to meetings and talk about our griefs and problems.’”\u003c/p>\n\u003cp>[aside postid='arts_13925866']Davis, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo184793529.html\">\u003cem>The Academy and the Award\u003c/em>\u003c/a>\u003cem>, \u003c/em>says in the late 1920s, writers, directors, actors and other members of the new Academy didn’t trust Mayer’s group of anti-union studio bigwigs. They soon formed their guilds, and Davis says the Academy nearly folded in 1933.\u003c/p>\n\u003cp>“Finally, the Academy had to agree to get out of the labor business entirely,” says Davis.\u003c/p>\n\u003cp>Instead, the organization focused on handing out Oscars, as the statuettes were later nicknamed. \u003ca href=\"https://www.oldtimeradiodownloads.com/variety/academy-award-ceremonies/academy-award-ceremony-1947\">Radio stations\u003c/a> and newsreels began highlighting the ceremonies to movie fans captivated by Hollywood’s glitz and glamor.\u003c/p>\n\u003cp>In 1939, Hattie McDaniel became the first African American actor to win an Oscar for her role as Mammy in \u003cem>Gone With the Wind\u003c/em>. McDaniel rose from her seat at a segregated table to accept the award for best supporting actress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e7t4pTNZshA&t=3s\u003c/p>\n\u003cp>“I sincerely hope I shall always be a credit to my race and to the motion picture industry,” she said, wiping away her tears.\u003c/p>\n\u003cp>Over the years, the Oscars have included scandals and feuds … like the famous rivalry between sisters Joan Fontaine and Olivia de Havilland, who despised each other and vied for the best actress Oscar in 1942. (\u003ca href=\"https://www.youtube.com/watch?v=4tOZ-IU7izg\">Fontaine won\u003c/a> for her role in the Alfred Hitchcock film \u003cem>Suspicion\u003c/em>.)\u003c/p>\n\u003cp>The ceremonies continued during the infamous McCarthy era when many Hollywood writers were blacklisted as suspected communists. All of that was upended in 1957 when the winner of the best motion picture was announced: \u003ca href=\"https://www.youtube.com/watch?v=c2KdnI1N8AU\">Robert Rich, writer of \u003cem>The Brave One\u003c/em>\u003c/a>, a story about a Mexican boy and his pet bull.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Someone else accepted the award on his behalf. “Then no one could find this guy. And that’s because he did not exist,” says Michael Schulman, a staff writer for the \u003cem>New Yorker \u003c/em>and author of the new book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>Robert Rich was a pseudonym for screenwriter \u003ca href=\"https://www.npr.org/2008/06/17/91576667/trumbo-a-blacklisted-writer-in-his-own-words\">Dalton Trumbo\u003c/a>, who was imprisoned for defying the House Un-American Activities Committee.\u003c/p>\n\u003cp>“He realized there was a contradiction, that all of these people — suspected communists — were blacklisted, and yet they were all working,” says Schulman. “They were writing movies under fake names, and now they were winning awards.”\u003c/p>\n\u003cp>Schulman says that was one of the many Hollywood scandals the Oscars have exposed.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=iOtp4dli7-4\">1953, the Oscars began being broadcast on television, with host Bob Hope\u003c/a>, who quipped, “Isn’t it exciting to know that a lot of these glamorous stars are going to be in your homes tonight? Television, where movies go to die.”\u003c/p>\n\u003cp>The ceremonies are notorious for running long. But in 1959, the show ended up 20 minutes short. \u003ca href=\"https://www.youtube.com/watch?v=2riKdGOdU3E\">So emcee Jerry Lewis had to ad-lib\u003c/a> with shticks and bits to fill the airtime.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2riKdGOdU3E\u003c/p>\n\u003cp>“We would like to now do 300 choruses of ‘There’s No Business Like Show Business,’” he said before taking the baton to lead the orchestra at the Pantages Theatre.\u003c/p>\n\u003cp>“Lewis invited all of the winners and participants from the show back up on stage, and they’re feeling like idiots. So they started dancing with each other,” chuckles Davis. “And still, it wouldn’t go off. Then people start sneaking off the stage.”\u003c/p>\n\u003cp>\u003ca href=\"https://interviews.televisionacademy.com/news/interview-clip-jerry-lewis-discusses-1959s-short-academy-awards-telecast\">For the remaining minutes\u003c/a>, NBC cut to a rerun of a sportscast.\u003c/p>\n\u003cp>Davis says one of the most poignant moments in Oscars history was when \u003ca href=\"https://www.youtube.com/watch?v=J3Pl-qvA1X8\">Charlie Chaplin, who had started in silent movies, won a lifetime achievement award in 1972\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3Pl-qvA1X8\u003c/p>\n\u003cp>“He had been almost driven out of the country because his politics were seen to be too far left for the American public,” says Davis. “So to have him come back to receive an honorary award and be embraced by the entire industry was clearly a very moving thing.”\u003c/p>\n\u003cp>The audience gave Chaplin a 12-minute standing ovation.\u003c/p>\n\u003cp>The following year, the crowd booed when \u003ca href=\"https://www.youtube.com/watch?v=2QUacU0I4yU\">Marlon Brando sent Sacheen Littlefeather to the stage to decline his best actor award\u003c/a> because of “the treatment of the American Indians” by the film industry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>Years later, \u003ca href=\"https://www.npr.org/2022/10/03/1126515900/sacheen-littlefeather-marlon-brando-dies\">Littlefeather recalled being escorted offstage at the Oscars by security guards\u003c/a>. She said that for years Hollywood boycotted her, calling it being “red-listed.” Finally, nearly 50 years later, the Academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance.\u003c/p>\n\u003cp>In 1974, the Oscars audience shrieked when gay activist \u003ca href=\"https://www.youtube.com/watch?v=EWBc-ir6IFM\">Robert Opel dashed across the stage naked\u003c/a>. The streaker prompted presenter David Niven to quip, “Probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EWBc-ir6IFM\u003c/p>\n\u003cp>In 1985, \u003ca href=\"https://www.youtube.com/watch?v=u_8nAvU0T5Y\">best actress winner Sally Field\u003c/a> gave one of the Oscars’ most unforgettable speeches. “I can’t deny the fact that you like me,” she gushed. “Right now, you like me!”\u003c/p>\n\u003cp>Schulman says there have been other cringe moments, like the opening number in 1989, which included \u003ca href=\"https://www.youtube.com/watch?v=9mronRVvdmw\">actor Rob Lowe singing a duet with a live-action Snow White\u003c/a>.\u003c/p>\n\u003cp>Schulman says the 11-minute, over-the-top opening was a flop for flamboyant producer Allan Carr, who had previously produced the musicals \u003cem>Grease\u003c/em> and \u003cem>La Cage aux Folles\u003c/em>.\u003c/p>\n\u003cp>“When it went bad, there was a scapegoat effect,” says Schulman. “He was essentially ostracized within days. And he never recovered. It destroyed his career. It destroyed his life.”\u003c/p>\n\u003cp>In the last decade, the Oscars had a racial reckoning after being criticized for not giving awards to actors and filmmakers of color. \u003ca href=\"https://www.npr.org/2016/01/25/464244160/a-conversation-with-the-creator-of-oscarssowhite\">The #OscarsSoWhite movement\u003c/a> led to this \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI&t=2s\">2017 mixup\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GCQn_FkFElI&t=2s\u003c/p>\n\u003cp>“There was a rookie from Pricewaterhouse that year who was a little too enthusiastic about being backstage with all of the stars and clearly took his mind off his job,” explains Davis. “He handed the presenter the wrong envelope.”\u003c/p>\n\u003cp>[aside postid='arts_13911018']Onstage, presenter Warren Beatty looked at the envelope puzzled. Then Faye Dunaway announced the final winner of the night: \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cp>Producer Jordan Horowitz accepted the award at first, surrounded by his cast. Then, after much confusion onstage, he returned to the mic.\u003c/p>\n\u003cp>“I’m sorry, no. There’s a mistake: \u003cem>Moonlight\u003c/em>. You guys won best picture,” Horowitz said before showing a card with the correct winner to the cameras. “This is not a joke. \u003cem>Moonlight\u003c/em> has won best picture.”\u003c/p>\n\u003cp>Last year, the winners were overshadowed by a confrontation with best actor nominee \u003ca href=\"https://www.youtube.com/watch?v=myjEoDypUD8\">Will Smith, who strode onstage and smacked presenter Chris Rock \u003c/a>after he had made a joke about Smith’s wife’s hair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myjEoDypUD8\u003c/p>\n\u003cp>After delivering the slap seen and heard around the world, Smith sat down in his seat and roared expletives at Rock. Smith won the best actor award for starring in \u003cem>King Richard\u003c/em>, but \u003ca href=\"https://www.npr.org/2022/04/08/1091681181/the-academy-bans-will-smith-for-10-years-for-chris-rock-slap\">the Academy punished him by banning him from its events for 10 years\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Schulman says anything can happen during a live event, “Whether it’s a burst of anger with the slap or just something really moving, someone living their dream.” He says so much of the Oscars “are wrapped in this kind of celebrity, like ‘you-like-me’ absurdity, and then boom! Something happens that shocks your system a little bit.”\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=The+first+Oscars+lasted+15+minutes+%E2%80%94+plus+other+surprises+from+95+years+of+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You read that right — just 15 minutes. The first Academy Awards ceremony was held on May 1929, in the Blossom Room of the Hollywood Roosevelt Hotel. At the end of a private black-tie banquet, leading man Douglas Fairbanks announced the first ever winners of the golden statuettes.\u003c/p>\n\u003cp>All the recipients that year were silent movies, except one: \u003ca href=\"https://www.youtube.com/watch?v=yFaZOaLTkN0\">\u003cem>The Jazz Singer\u003c/em>\u003c/a>\u003cem>,\u003c/em> starring Al Jolson. \u003ca href=\"https://www.youtube.com/watch?v=zXOlmo943Vc\">The top prize in 1929 \u003c/a>went to \u003cem>Wings\u003c/em>, an airplane film similar to one of this year’s best picture nominees, \u003cem>Top Gun: Maverick\u003c/em>.\u003c/p>\n\u003cp>The following year, the Academy Award for Outstanding Production went to a war movie, \u003ca href=\"https://www.youtube.com/watch?v=grapXipP3fM\">\u003cem>All Quiet on the Western Front\u003c/em>\u003c/a> (a remake of that film is also a contender this year). \u003ca href=\"https://www.youtube.com/watch?v=Kt0mgFtdQwk\">Newsreel footage from 1930\u003c/a> captured the head of MGM, Louis B. Mayer, solemnly congratulating the movie’s producer Carl Laemmle, saying, “Sorry I didn’t win it, Mr. Laemmle. I know of no one I’d rather have beat me than you.”\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/Kt0mgFtdQwk'\n title='//www.youtube.com/embed/Kt0mgFtdQwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the silent movie era ended and the talkies began, Mayer had dreamed up the idea of an Academy for \u003ca href=\"https://www.findinglostangeles.com/all-content/2019/1/7/hollywoodland\">Hollywoodland\u003c/a>, as it was first known.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was afraid of the union movement that was kind of moving across the country, and he didn’t want the film industry to be unionized,” says Bruce Davis, a former CEO of the Academy for 30 years\u003cem>. “\u003c/em>So he thought, ‘Somehow, we’ll have this organization, and we’ll all just come to meetings and talk about our griefs and problems.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davis, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo184793529.html\">\u003cem>The Academy and the Award\u003c/em>\u003c/a>\u003cem>, \u003c/em>says in the late 1920s, writers, directors, actors and other members of the new Academy didn’t trust Mayer’s group of anti-union studio bigwigs. They soon formed their guilds, and Davis says the Academy nearly folded in 1933.\u003c/p>\n\u003cp>“Finally, the Academy had to agree to get out of the labor business entirely,” says Davis.\u003c/p>\n\u003cp>Instead, the organization focused on handing out Oscars, as the statuettes were later nicknamed. \u003ca href=\"https://www.oldtimeradiodownloads.com/variety/academy-award-ceremonies/academy-award-ceremony-1947\">Radio stations\u003c/a> and newsreels began highlighting the ceremonies to movie fans captivated by Hollywood’s glitz and glamor.\u003c/p>\n\u003cp>In 1939, Hattie McDaniel became the first African American actor to win an Oscar for her role as Mammy in \u003cem>Gone With the Wind\u003c/em>. McDaniel rose from her seat at a segregated table to accept the award for best supporting actress.\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/e7t4pTNZshA'\n title='//www.youtube.com/embed/e7t4pTNZshA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I sincerely hope I shall always be a credit to my race and to the motion picture industry,” she said, wiping away her tears.\u003c/p>\n\u003cp>Over the years, the Oscars have included scandals and feuds … like the famous rivalry between sisters Joan Fontaine and Olivia de Havilland, who despised each other and vied for the best actress Oscar in 1942. (\u003ca href=\"https://www.youtube.com/watch?v=4tOZ-IU7izg\">Fontaine won\u003c/a> for her role in the Alfred Hitchcock film \u003cem>Suspicion\u003c/em>.)\u003c/p>\n\u003cp>The ceremonies continued during the infamous McCarthy era when many Hollywood writers were blacklisted as suspected communists. All of that was upended in 1957 when the winner of the best motion picture was announced: \u003ca href=\"https://www.youtube.com/watch?v=c2KdnI1N8AU\">Robert Rich, writer of \u003cem>The Brave One\u003c/em>\u003c/a>, a story about a Mexican boy and his pet bull.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Someone else accepted the award on his behalf. “Then no one could find this guy. And that’s because he did not exist,” says Michael Schulman, a staff writer for the \u003cem>New Yorker \u003c/em>and author of the new book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>Robert Rich was a pseudonym for screenwriter \u003ca href=\"https://www.npr.org/2008/06/17/91576667/trumbo-a-blacklisted-writer-in-his-own-words\">Dalton Trumbo\u003c/a>, who was imprisoned for defying the House Un-American Activities Committee.\u003c/p>\n\u003cp>“He realized there was a contradiction, that all of these people — suspected communists — were blacklisted, and yet they were all working,” says Schulman. “They were writing movies under fake names, and now they were winning awards.”\u003c/p>\n\u003cp>Schulman says that was one of the many Hollywood scandals the Oscars have exposed.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=iOtp4dli7-4\">1953, the Oscars began being broadcast on television, with host Bob Hope\u003c/a>, who quipped, “Isn’t it exciting to know that a lot of these glamorous stars are going to be in your homes tonight? Television, where movies go to die.”\u003c/p>\n\u003cp>The ceremonies are notorious for running long. But in 1959, the show ended up 20 minutes short. \u003ca href=\"https://www.youtube.com/watch?v=2riKdGOdU3E\">So emcee Jerry Lewis had to ad-lib\u003c/a> with shticks and bits to fill the airtime.\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/2riKdGOdU3E'\n title='//www.youtube.com/embed/2riKdGOdU3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We would like to now do 300 choruses of ‘There’s No Business Like Show Business,’” he said before taking the baton to lead the orchestra at the Pantages Theatre.\u003c/p>\n\u003cp>“Lewis invited all of the winners and participants from the show back up on stage, and they’re feeling like idiots. So they started dancing with each other,” chuckles Davis. “And still, it wouldn’t go off. Then people start sneaking off the stage.”\u003c/p>\n\u003cp>\u003ca href=\"https://interviews.televisionacademy.com/news/interview-clip-jerry-lewis-discusses-1959s-short-academy-awards-telecast\">For the remaining minutes\u003c/a>, NBC cut to a rerun of a sportscast.\u003c/p>\n\u003cp>Davis says one of the most poignant moments in Oscars history was when \u003ca href=\"https://www.youtube.com/watch?v=J3Pl-qvA1X8\">Charlie Chaplin, who had started in silent movies, won a lifetime achievement award in 1972\u003c/a>.\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/J3Pl-qvA1X8'\n title='//www.youtube.com/embed/J3Pl-qvA1X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He had been almost driven out of the country because his politics were seen to be too far left for the American public,” says Davis. “So to have him come back to receive an honorary award and be embraced by the entire industry was clearly a very moving thing.”\u003c/p>\n\u003cp>The audience gave Chaplin a 12-minute standing ovation.\u003c/p>\n\u003cp>The following year, the crowd booed when \u003ca href=\"https://www.youtube.com/watch?v=2QUacU0I4yU\">Marlon Brando sent Sacheen Littlefeather to the stage to decline his best actor award\u003c/a> because of “the treatment of the American Indians” by the film industry.\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Years later, \u003ca href=\"https://www.npr.org/2022/10/03/1126515900/sacheen-littlefeather-marlon-brando-dies\">Littlefeather recalled being escorted offstage at the Oscars by security guards\u003c/a>. She said that for years Hollywood boycotted her, calling it being “red-listed.” Finally, nearly 50 years later, the Academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance.\u003c/p>\n\u003cp>In 1974, the Oscars audience shrieked when gay activist \u003ca href=\"https://www.youtube.com/watch?v=EWBc-ir6IFM\">Robert Opel dashed across the stage naked\u003c/a>. The streaker prompted presenter David Niven to quip, “Probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings.”\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/EWBc-ir6IFM'\n title='//www.youtube.com/embed/EWBc-ir6IFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1985, \u003ca href=\"https://www.youtube.com/watch?v=u_8nAvU0T5Y\">best actress winner Sally Field\u003c/a> gave one of the Oscars’ most unforgettable speeches. “I can’t deny the fact that you like me,” she gushed. “Right now, you like me!”\u003c/p>\n\u003cp>Schulman says there have been other cringe moments, like the opening number in 1989, which included \u003ca href=\"https://www.youtube.com/watch?v=9mronRVvdmw\">actor Rob Lowe singing a duet with a live-action Snow White\u003c/a>.\u003c/p>\n\u003cp>Schulman says the 11-minute, over-the-top opening was a flop for flamboyant producer Allan Carr, who had previously produced the musicals \u003cem>Grease\u003c/em> and \u003cem>La Cage aux Folles\u003c/em>.\u003c/p>\n\u003cp>“When it went bad, there was a scapegoat effect,” says Schulman. “He was essentially ostracized within days. And he never recovered. It destroyed his career. It destroyed his life.”\u003c/p>\n\u003cp>In the last decade, the Oscars had a racial reckoning after being criticized for not giving awards to actors and filmmakers of color. \u003ca href=\"https://www.npr.org/2016/01/25/464244160/a-conversation-with-the-creator-of-oscarssowhite\">The #OscarsSoWhite movement\u003c/a> led to this \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI&t=2s\">2017 mixup\u003c/a>:\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/GCQn_FkFElI'\n title='//www.youtube.com/embed/GCQn_FkFElI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There was a rookie from Pricewaterhouse that year who was a little too enthusiastic about being backstage with all of the stars and clearly took his mind off his job,” explains Davis. “He handed the presenter the wrong envelope.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Onstage, presenter Warren Beatty looked at the envelope puzzled. Then Faye Dunaway announced the final winner of the night: \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cp>Producer Jordan Horowitz accepted the award at first, surrounded by his cast. Then, after much confusion onstage, he returned to the mic.\u003c/p>\n\u003cp>“I’m sorry, no. There’s a mistake: \u003cem>Moonlight\u003c/em>. You guys won best picture,” Horowitz said before showing a card with the correct winner to the cameras. “This is not a joke. \u003cem>Moonlight\u003c/em> has won best picture.”\u003c/p>\n\u003cp>Last year, the winners were overshadowed by a confrontation with best actor nominee \u003ca href=\"https://www.youtube.com/watch?v=myjEoDypUD8\">Will Smith, who strode onstage and smacked presenter Chris Rock \u003c/a>after he had made a joke about Smith’s wife’s hair.\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/myjEoDypUD8'\n title='//www.youtube.com/embed/myjEoDypUD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After delivering the slap seen and heard around the world, Smith sat down in his seat and roared expletives at Rock. Smith won the best actor award for starring in \u003cem>King Richard\u003c/em>, but \u003ca href=\"https://www.npr.org/2022/04/08/1091681181/the-academy-bans-will-smith-for-10-years-for-chris-rock-slap\">the Academy punished him by banning him from its events for 10 years\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schulman says anything can happen during a live event, “Whether it’s a burst of anger with the slap or just something really moving, someone living their dream.” He says so much of the Oscars “are wrapped in this kind of celebrity, like ‘you-like-me’ absurdity, and then boom! Something happens that shocks your system a little bit.”\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=The+first+Oscars+lasted+15+minutes+%E2%80%94+plus+other+surprises+from+95+years+of+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VAHorHpPqb4&t=1s\u003c/p>\n\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>[aside postid='arts_13896127']The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2CIAKVTOrc\u003c/p>\n\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzxsTXNmVm0\u003c/p>\n\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4_eEgJhsBMo\u003c/p>\n\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\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=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\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/VAHorHpPqb4'\n title='//www.youtube.com/embed/VAHorHpPqb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\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>\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\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/O2CIAKVTOrc'\n title='//www.youtube.com/embed/O2CIAKVTOrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\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/EzxsTXNmVm0'\n title='//www.youtube.com/embed/EzxsTXNmVm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\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/4_eEgJhsBMo'\n title='//www.youtube.com/embed/4_eEgJhsBMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\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=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Coldest Case’ is Serial’s Latest Podcast on Murder and Memory",
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"content": "\u003cp>In Kim Barker’s memory, the city of Laramie, Wyo. — where she spent some years as a teenager — was a miserable place. A seasoned journalist with \u003cem>The New York Times\u003c/em>, Barker is now also the host of \u003ca href=\"https://www.nytimes.com/2023/02/16/podcasts/serial-laramie-cold-case.html\">\u003cem>The Coldest Case in Laramie\u003c/em>\u003c/a>, a new audio documentary series from Serial Productions that brings her back into the jagged edges of her former home.\u003c/p>\n\u003cp>[aside postid='arts_13878051']The cold case in question took place almost four decades ago. In 1985, Shelli Wiley, a University of Wyoming student, was brutally killed in her apartment, which was also set ablaze. The ensuing police investigation brought nothing definite. Two separate arrests were eventually made for the crime, but neither stuck. And so, for a long time, the case was left to freeze.\u003c/p>\n\u003cp>At the time of the murder, Barker was a kid in Laramie. The case had stuck with her: its brutality, its open-endedness. Decades later, while waylaid by the pandemic, she found herself checking back on the murder — only to find a fresh development.\u003c/p>\n\u003cp>In 2016, a former police officer, who had lived near Wiley’s apartment, was arrested for the murder on the basis of blood evidence linking him to the scene. As it turned out, many in the area had long harbored suspicions that he was the culprit. This felt like a definite resolution. But that lead went nowhere as well. Shortly after the arrest, the charges against him were surprisingly dropped, and no new charges have been filed since.\u003c/p>\n\u003cp>What, exactly, is going on here? This is where Barker enters the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q0ZcQWOsnO8\u003c/p>\n\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> isn’t quite a conventional true crime story. It certainly doesn’t want to be; even the creators explicitly insist the podcast is not “a case of whodunit.” Instead, the show is best described as an extensive accounting of what happens when the confusion around a horrific crime meets a gravitational pull for closure. It’s a mess.\u003c/p>\n\u003cp>At the heart of \u003cem>The Coldest Case in Laramie\u003c/em> is an interest in the unreliability of memory and the slipperiness of truth. One of the podcast’s more striking moments revolves around a woman who had been living with the victim at the time. The woman had a memory of being sent a letter with a bunch of money and a warning to skip town not long after the murder. The message had seared into her brain for decades, but, as revealed through Barker’s reporting, few things about that memory are what they seem. Barker later presents the woman with pieces of evidence that radically challenge her core memory, and you can almost hear a mind change.\u003c/p>\n\u003cp>[aside postid='pop_109009']\u003cem>The Coldest Case in Laramie\u003c/em> is undeniably compelling, but there’s also something about the show’s underlying themes that feels oddly commonplace. We’re currently neck-deep in a documentary boom so utterly dominated by true crime stories that we’re pretty much well past the point of saturation. At this point, these themes of unreliable memory and subjective truths feel like they should be starting points for a story like this. And given the pedigree of Serial Productions, responsible for seminal projects like \u003ca href=\"https://www.npr.org/2017/04/07/522912205/pop-culture-happy-hour-s-town-and-chewing-gum\">\u003cem>S-Town\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2020/10/12/922092481/podcast-examines-how-nice-white-parents-become-obstacles-in-integrated-schools\">\u003cem>Nice White Parents\u003c/em>\u003c/a> — and, you know, \u003ca href=\"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed\">\u003cem>Serial\u003c/em>\u003c/a> — it’s hard not to feel accustomed to expecting something more; a bigger, newer idea on which to hang this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, none of this is to undercut the reporting as well as the still very much important ideas driving the podcast. It will always be terrifying how our justice system depends so much on something as capricious as memory, and how different people might look at the same piece of information only to arrive at completely different conclusions. By the end of the series, even Barker begins to reconsider how she remembers the Laramie where she grew up. But the increasing expected nature of these themes in nonfiction crime narratives start to beg the question: Where do we go from here?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Coldest+Case%27+is+Serial%27s+latest+podcast+on+murder+and+memory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The cold case in question took place almost four decades ago. In 1985, Shelli Wiley, a University of Wyoming student, was brutally killed in her apartment, which was also set ablaze. The ensuing police investigation brought nothing definite. Two separate arrests were eventually made for the crime, but neither stuck. And so, for a long time, the case was left to freeze.\u003c/p>\n\u003cp>At the time of the murder, Barker was a kid in Laramie. The case had stuck with her: its brutality, its open-endedness. Decades later, while waylaid by the pandemic, she found herself checking back on the murder — only to find a fresh development.\u003c/p>\n\u003cp>In 2016, a former police officer, who had lived near Wiley’s apartment, was arrested for the murder on the basis of blood evidence linking him to the scene. As it turned out, many in the area had long harbored suspicions that he was the culprit. This felt like a definite resolution. But that lead went nowhere as well. Shortly after the arrest, the charges against him were surprisingly dropped, and no new charges have been filed since.\u003c/p>\n\u003cp>What, exactly, is going on here? This is where Barker enters the scene.\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/q0ZcQWOsnO8'\n title='//www.youtube.com/embed/q0ZcQWOsnO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> isn’t quite a conventional true crime story. It certainly doesn’t want to be; even the creators explicitly insist the podcast is not “a case of whodunit.” Instead, the show is best described as an extensive accounting of what happens when the confusion around a horrific crime meets a gravitational pull for closure. It’s a mess.\u003c/p>\n\u003cp>At the heart of \u003cem>The Coldest Case in Laramie\u003c/em> is an interest in the unreliability of memory and the slipperiness of truth. One of the podcast’s more striking moments revolves around a woman who had been living with the victim at the time. The woman had a memory of being sent a letter with a bunch of money and a warning to skip town not long after the murder. The message had seared into her brain for decades, but, as revealed through Barker’s reporting, few things about that memory are what they seem. Barker later presents the woman with pieces of evidence that radically challenge her core memory, and you can almost hear a mind change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Coldest Case in Laramie\u003c/em> is undeniably compelling, but there’s also something about the show’s underlying themes that feels oddly commonplace. We’re currently neck-deep in a documentary boom so utterly dominated by true crime stories that we’re pretty much well past the point of saturation. At this point, these themes of unreliable memory and subjective truths feel like they should be starting points for a story like this. And given the pedigree of Serial Productions, responsible for seminal projects like \u003ca href=\"https://www.npr.org/2017/04/07/522912205/pop-culture-happy-hour-s-town-and-chewing-gum\">\u003cem>S-Town\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2020/10/12/922092481/podcast-examines-how-nice-white-parents-become-obstacles-in-integrated-schools\">\u003cem>Nice White Parents\u003c/em>\u003c/a> — and, you know, \u003ca href=\"https://www.npr.org/2022/09/20/1124141699/serial-adnan-syed\">\u003cem>Serial\u003c/em>\u003c/a> — it’s hard not to feel accustomed to expecting something more; a bigger, newer idea on which to hang this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, none of this is to undercut the reporting as well as the still very much important ideas driving the podcast. It will always be terrifying how our justice system depends so much on something as capricious as memory, and how different people might look at the same piece of information only to arrive at completely different conclusions. By the end of the series, even Barker begins to reconsider how she remembers the Laramie where she grew up. But the increasing expected nature of these themes in nonfiction crime narratives start to beg the question: Where do we go from here?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Coldest+Case%27+is+Serial%27s+latest+podcast+on+murder+and+memory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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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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"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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"excerpt": "Yes, Rihanna is performing at this year’s ceremony. If you happen to want to know anything else, you can find answers here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"excerpt": "In the video game-inspired series, it’s not a virus or bacteria that’s pushed humanity to the brink — it’s a fungus.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"headTitle": "Relive the Beastie Boys’ Legendary Tibetan Freedom Concert in SF | KQED",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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