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"content": "\u003cp>It’s best I get this out the way early so we all know what we’re dealing with here. \u003cem>The Civil Dead\u003c/em> is a movie about a struggling photographer in Los Angeles who one day runs into a childhood friend of his who, it turns out, is now a ghost.\u003c/p>\n\u003cp>Yah-huh.\u003c/p>\n\u003cp>[aside postid='arts_13862625']\u003cem>The Civil Dead\u003c/em> is not a horror movie, though there are unnerving moments. It’s not a straightforward comedy either, though I did laugh out loud more than I thought I would. It’s also not some deep metaphor about long-lost childhood comfort, or the way things from our past can reemerge in times of crisis and haunt us.\u003c/p>\n\u003cp>Nope. \u003cem>The Civil Dead\u003c/em> is simply a movie in which screenwriters and lead actors Clay Tatum and Whitmer Thomas explore what might happen if a person suddenly found themselves with a ghost friend. What would you do? What could you get away with? What would you hate about it? The end result is absurd and a bit sad and will make you sympathize with ghosts more than probably any other movie you’ve ever seen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MLuoTYYIAsc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tatum plays photographer Clay, an unmotivated, dishonest man who thinks a purposely bad haircut is a sensible substitute for a decent personality. Thomas plays his needy ghost friend Whit with an endearing vulnerability and quiet resignation. Both characters are flawed and a bit selfish. Both are bored and unfulfilled. Both, on some level, deserve one another.\u003c/p>\n\u003cp>[aside postid='arts_13924104']The brilliance of \u003cem>The Civil Dead\u003c/em> lies in its insistence on presenting this ghost story in a way that is thoroughly rooted in the everyday and mundane. The film is realistic about how this scenario becomes tiresome for both of its protagonists, and Thomas and Tatum’s real-life friendship grounds the more ethereal aspects of the story.\u003c/p>\n\u003cp>In many ways, \u003cem>The Civil Dead\u003c/em> is refreshing and surprising. For one, the film’s “ghost rules” are a little different from what moviegoers have come to expect. Here, ghosts can’t float through walls or open doors or move objects on purpose. If Whit wants to go somewhere, he has to walk to it which, stuck in LA, makes for an arduous existence. Poor Whit is thoroughly at the mercy of humans and the humans have a habit (Clay included) of dehumanizing him on account of his deadness.\u003c/p>\n\u003cp>If there is a lesson in \u003cem>The Civil Dead\u003c/em> — and I’m not 100% sure there is — it might be that life is cruel, but death is worse. Or perhaps the lesson is to value even the smallest, silliest things in life. “I miss driving,” Whit ponders to himself at one point. “I miss sweating. I miss being hungry and thirsty. I miss burping and farting … I wish I had done more fucked-up shit when I was alive.”\u003c/p>\n\u003cp>\u003cem>The Civil Dead\u003c/em> also reminds us to treat others with kindness, even when they’re annoying; even when they’re trying to hang out with us for all eternity. It’s a strange little movie that never quite does what you’re expecting it to. Most delightfully, the movie’s ending is one that, like a ghost, you won’t see coming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Civil Dead’ opens at the \u003ca href=\"https://drafthouse.com/sf/event/live-q-a-the-civil-dead\">Alamo Drafthouse\u003c/a> on Feb. 4, 2023, with a live Q&A with Clay Tatum and Whitmer Thomas. The movie will be available on demand starting Feb. 17.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4x2NzusLAqk\u003c/p>\n\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>[aside postid='arts_13923656']At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13923488']The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\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=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\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/4x2NzusLAqk'\n title='//www.youtube.com/embed/4x2NzusLAqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\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=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Real-Life Refugees of ‘Casablanca’ Make it So Much More Than a Love Story",
"headTitle": "The Real-Life Refugees of ‘Casablanca’ Make it So Much More Than a Love Story | KQED",
"content": "\u003cp>It’s been 80 years since the Hollywood classic \u003cem>Casablanca\u003c/em> opened nationwide. Set at Rick’s Cafe, a nightclub in the Moroccan city during World War II, the story centers around a love triangle.\u003c/p>\n\u003cp>Humphrey Bogart stars as Rick, the cynical American bar owner who repeatedly claims to be neutral in the war. Ingrid Bergman plays his old flame Ilsa Lund, who is now married to Victor Laszlo, a dashing resistance leader played by Paul Henreid.\u003c/p>\n\u003cp>[aside postid='arts_13919710']But \u003cem>Casablanca\u003c/em> is more than just a love story. It is a film about, and stocked with, the waves of refugees fleeing Nazi-occupied Europe during wartime. And many of the actors playing those roles were, in fact, refugees.\u003c/p>\n\u003cp>“When people speak here, the accents are real,” says \u003ca href=\"https://www.bu.edu/creativewriting/people/faculty/leslie-epstein-program-director/\">Leslie Epstein\u003c/a>, the son and nephew of screenwriters Philip and Julius Epstein\u003cem>. “\u003c/em>That gives it a kind of authenticity. In a sense, they’re playing themselves.”\u003c/p>\n\u003cp>Helmut Dantine was one such actor. Dantine was born in Austria and, as a teenager, became the leader of the anti-Nazi youth movement in Vienna. When the Nazis annexed Austria in March of 1938, they promptly arrested 19-year-old Dantine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His family used their political connections to negotiate his release, and immediately sent him to the United States. He landed in Los Angeles, enrolled at UCLA, and began his acting career.\u003c/p>\n\u003cp>“He was drop dead gorgeous,” says his widow Niki Dantine. “He would walk in the room and the ladies would straighten the seams in their stockings.”\u003c/p>\n\u003cp>In \u003cem>Casablanca\u003c/em>, Dantine plays Jan Brandel, a young refugee who has fled Europe with his wife. In one scene, Jan is playing roulette, hoping to win enough money to buy their exit visas. But he’s losing. Seeing his predicament, Rick rigs the game to help Jan win, essentially gifting them the cash to secure the couple’s passage to America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xD_bKVAZJBw&t=151s\u003c/p>\n\u003cp>In other wartime films, Dantine would be cast as the villain, playing Nazi officers opposite Errol Flynn in \u003cem>Northern Pursuit\u003c/em> (1943) and \u003cem>Escape in the Desert \u003c/em>(1945).\u003c/p>\n\u003cp>“It must have been incredibly hard for him emotionally,” Niki Dantine told \u003cem>Radio Diaries\u003c/em>. “Having been the leader of the anti-Nazi youth movement, to then be playing Nazis in film.”\u003c/p>\n\u003cp>There were several other European-born actors in \u003cem>Casablanca \u003c/em>who had made it to Hollywood after fleeing the Nazis.\u003c/p>\n\u003cul>\n\u003cli>Conrad Veidt plays Nazi officer Major Strasser. Veidt was a German actor whose wife was Jewish. Like Dantine, he escaped the Nazis only to find success portraying them on screen.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Peter Lorre plays Ugarte, a customer at Rick’s Cafe who steals from German couriers at the start of the film. Lorre began his career as a stage actor in Vienna and Berlin, and became internationally known with his performance in Fritz Lang’s \u003cem>M \u003c/em>(1931) and in America for his role in \u003cem>The Maltese Falcon\u003c/em> (1941).\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>S.Z. Sakall plays Carl the waiter. Before the war, Sakall was a Hungarian cabaret actor. Members of his family died in the death camps and he escaped to Hollywood, where he was known as “cuddles” and often cast in comedic roles.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Marcel Dalio plays Emil, the croupier. In France, Dalio was a star, known for his roles in Jean Renoir’s\u003cem> La Grande Illusion\u003c/em> (1937) and \u003cem>The Rules of the Game \u003c/em>(1939). Dalio was Jewish and he fled Paris in 1940 with his wife Madeleine Lebeau — who plays Yvonne in \u003cem>Casablanca\u003c/em>.\u003c/li>\n\u003c/ul>\n\u003cp>Today, many viewers see these on-screen refugees as Jewish, but they are never identified as such. From \u003cem>The Jazz Singer \u003c/em>(1927) to \u003cem>Gentleman’s Agreement \u003c/em>(1947), the term “Jewish” rarely appeared in Hollywood screenplays. One exception was \u003cem>Mr. Skeffington\u003c/em> (1944), written by the same writers as \u003cem>Casablanca\u003c/em>: the Epstein Brothers.\u003c/p>\n\u003cp>[aside postid='arts_13896717']“The Hollywood moguls, the boards in Washington, none of these people wanted the American public to think of World War II as a war for the Jews,” Leslie Epstein told \u003cem>Radio Diaries\u003c/em>. But even if it softened the specifics, \u003cem>Casablanca \u003c/em>still delivered a powerful political message to audiences.\u003c/p>\n\u003cp>“\u003cem>Casablanca\u003c/em> is a propaganda film,” says Noah Isenberg, author of \u003ca href=\"https://wwnorton.com/books/Well-Always-Have-Casablanca/\">\u003cem>We’ll Always Have Casablanca\u003c/em>\u003c/a>. “It’s a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting.”\u003c/p>\n\u003cp>The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: “I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in.”\u003c/p>\n\u003cp>But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick’s aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.\u003c/p>\n\u003cp>Later in the famous scene of the singing of \u003cem>La Marseillaise\u003c/em>, Rick gives permission for the band to play the song of the resistance. As the refugees in the bar belt out their anthem, the film cuts to a closeup of the young French actress Madeleine Lebeau, tears streaming down her face.\u003c/p>\n\u003cp>Lebeau had fled Paris with her husband, Marcel Dalio, just two years prior. “They’re not tears of glycerin shed by an actress,” says Epstein. “The tears in her eyes are real.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HM-E2H1ChJM\u003c/p>\n\u003cp>During World War II, Hollywood provided safe harbor and employment for European emigres. After the war, a few of the refugee actors in \u003cem>Casablanca\u003c/em> were successful playing character roles. But for most, the work dried up as Hollywood turned its focus back to life in America. Some would be targeted by the House Committee on Un-American Activities. Others returned to post-war Europe.\u003c/p>\n\u003cp>[aside postid='arts_13915838']\u003cem>Casablanca\u003c/em> is often considered one of the greatest love stories ever told on screen, but its political message was particularly attuned to the times. Niki Dantine believes it left a mark.\u003c/p>\n\u003cp>“I think a film like \u003cem>Casablanca\u003c/em> gave Americans an opportunity to see what it was like to survive and how your life hangs in the balance during wartime.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was produced by Nellie Gilles of ‘Radio Diaries,’ and edited by Deborah George, Ben Shapiro and Joe Richman. You can find more stories on the ‘\u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/radio-diaries/id207505466\">\u003cem>Radio Diaries’ podcast. \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+real-life+refugees+of+%27Casablanca%27+make+it+so+much+more+than+a+love+story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 80 years since the Hollywood classic \u003cem>Casablanca\u003c/em> opened nationwide. Set at Rick’s Cafe, a nightclub in the Moroccan city during World War II, the story centers around a love triangle.\u003c/p>\n\u003cp>Humphrey Bogart stars as Rick, the cynical American bar owner who repeatedly claims to be neutral in the war. Ingrid Bergman plays his old flame Ilsa Lund, who is now married to Victor Laszlo, a dashing resistance leader played by Paul Henreid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Casablanca\u003c/em> is more than just a love story. It is a film about, and stocked with, the waves of refugees fleeing Nazi-occupied Europe during wartime. And many of the actors playing those roles were, in fact, refugees.\u003c/p>\n\u003cp>“When people speak here, the accents are real,” says \u003ca href=\"https://www.bu.edu/creativewriting/people/faculty/leslie-epstein-program-director/\">Leslie Epstein\u003c/a>, the son and nephew of screenwriters Philip and Julius Epstein\u003cem>. “\u003c/em>That gives it a kind of authenticity. In a sense, they’re playing themselves.”\u003c/p>\n\u003cp>Helmut Dantine was one such actor. Dantine was born in Austria and, as a teenager, became the leader of the anti-Nazi youth movement in Vienna. When the Nazis annexed Austria in March of 1938, they promptly arrested 19-year-old Dantine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His family used their political connections to negotiate his release, and immediately sent him to the United States. He landed in Los Angeles, enrolled at UCLA, and began his acting career.\u003c/p>\n\u003cp>“He was drop dead gorgeous,” says his widow Niki Dantine. “He would walk in the room and the ladies would straighten the seams in their stockings.”\u003c/p>\n\u003cp>In \u003cem>Casablanca\u003c/em>, Dantine plays Jan Brandel, a young refugee who has fled Europe with his wife. In one scene, Jan is playing roulette, hoping to win enough money to buy their exit visas. But he’s losing. Seeing his predicament, Rick rigs the game to help Jan win, essentially gifting them the cash to secure the couple’s passage to America.\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/xD_bKVAZJBw'\n title='//www.youtube.com/embed/xD_bKVAZJBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In other wartime films, Dantine would be cast as the villain, playing Nazi officers opposite Errol Flynn in \u003cem>Northern Pursuit\u003c/em> (1943) and \u003cem>Escape in the Desert \u003c/em>(1945).\u003c/p>\n\u003cp>“It must have been incredibly hard for him emotionally,” Niki Dantine told \u003cem>Radio Diaries\u003c/em>. “Having been the leader of the anti-Nazi youth movement, to then be playing Nazis in film.”\u003c/p>\n\u003cp>There were several other European-born actors in \u003cem>Casablanca \u003c/em>who had made it to Hollywood after fleeing the Nazis.\u003c/p>\n\u003cul>\n\u003cli>Conrad Veidt plays Nazi officer Major Strasser. Veidt was a German actor whose wife was Jewish. Like Dantine, he escaped the Nazis only to find success portraying them on screen.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Peter Lorre plays Ugarte, a customer at Rick’s Cafe who steals from German couriers at the start of the film. Lorre began his career as a stage actor in Vienna and Berlin, and became internationally known with his performance in Fritz Lang’s \u003cem>M \u003c/em>(1931) and in America for his role in \u003cem>The Maltese Falcon\u003c/em> (1941).\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>S.Z. Sakall plays Carl the waiter. Before the war, Sakall was a Hungarian cabaret actor. Members of his family died in the death camps and he escaped to Hollywood, where he was known as “cuddles” and often cast in comedic roles.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Marcel Dalio plays Emil, the croupier. In France, Dalio was a star, known for his roles in Jean Renoir’s\u003cem> La Grande Illusion\u003c/em> (1937) and \u003cem>The Rules of the Game \u003c/em>(1939). Dalio was Jewish and he fled Paris in 1940 with his wife Madeleine Lebeau — who plays Yvonne in \u003cem>Casablanca\u003c/em>.\u003c/li>\n\u003c/ul>\n\u003cp>Today, many viewers see these on-screen refugees as Jewish, but they are never identified as such. From \u003cem>The Jazz Singer \u003c/em>(1927) to \u003cem>Gentleman’s Agreement \u003c/em>(1947), the term “Jewish” rarely appeared in Hollywood screenplays. One exception was \u003cem>Mr. Skeffington\u003c/em> (1944), written by the same writers as \u003cem>Casablanca\u003c/em>: the Epstein Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The Hollywood moguls, the boards in Washington, none of these people wanted the American public to think of World War II as a war for the Jews,” Leslie Epstein told \u003cem>Radio Diaries\u003c/em>. But even if it softened the specifics, \u003cem>Casablanca \u003c/em>still delivered a powerful political message to audiences.\u003c/p>\n\u003cp>“\u003cem>Casablanca\u003c/em> is a propaganda film,” says Noah Isenberg, author of \u003ca href=\"https://wwnorton.com/books/Well-Always-Have-Casablanca/\">\u003cem>We’ll Always Have Casablanca\u003c/em>\u003c/a>. “It’s a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting.”\u003c/p>\n\u003cp>The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: “I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in.”\u003c/p>\n\u003cp>But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick’s aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.\u003c/p>\n\u003cp>Later in the famous scene of the singing of \u003cem>La Marseillaise\u003c/em>, Rick gives permission for the band to play the song of the resistance. As the refugees in the bar belt out their anthem, the film cuts to a closeup of the young French actress Madeleine Lebeau, tears streaming down her face.\u003c/p>\n\u003cp>Lebeau had fled Paris with her husband, Marcel Dalio, just two years prior. “They’re not tears of glycerin shed by an actress,” says Epstein. “The tears in her eyes are real.”\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/HM-E2H1ChJM'\n title='//www.youtube.com/embed/HM-E2H1ChJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During World War II, Hollywood provided safe harbor and employment for European emigres. After the war, a few of the refugee actors in \u003cem>Casablanca\u003c/em> were successful playing character roles. But for most, the work dried up as Hollywood turned its focus back to life in America. Some would be targeted by the House Committee on Un-American Activities. Others returned to post-war Europe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced by Nellie Gilles of ‘Radio Diaries,’ and edited by Deborah George, Ben Shapiro and Joe Richman. You can find more stories on the ‘\u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/radio-diaries/id207505466\">\u003cem>Radio Diaries’ podcast. \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+real-life+refugees+of+%27Casablanca%27+make+it+so+much+more+than+a+love+story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Full Guide to the Sexual Misconduct Allegations Against Andrew Callaghan",
"headTitle": "A Full Guide to the Sexual Misconduct Allegations Against Andrew Callaghan | KQED",
"content": "\u003cp>Andrew Callaghan, a documentarian behind YouTube’s \u003cem>Channel 5\u003c/em> and HBO’s \u003cem>This Place Rules\u003c/em>, is known for chronicling spectacles from Phish shows to white nationalist rallies.\u003c/p>\n\u003cp>But this month, the 25-year-old was himself the story after thousands of social media users saw a pattern of misconduct in first- and second-hand accounts of women’s experiences that were shared across platforms in public comments and videos.\u003c/p>\n\u003cp>Callaghan addressed the allegations in an Instagram post on Sunday, apologizing to the women and pledging to examine his behavior in therapy.\u003c/p>\n\u003cp>But for many who follow Callaghan’s work, the incident raises questions about Gen Z’s tolerance for sexually questionable behavior.\u003c/p>\n\u003cp>Here’s an account of what has happened as of Friday.\u003c/p>\n\u003ch3>Who is Andrew Callaghan?\u003c/h3>\n\u003cfigure id=\"attachment_13923923\" class=\"wp-caption aligncenter\" style=\"max-width: 608px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg\" alt=\"An unkempt young white man with messy shoulder length hair looks into a camera. He is sitting in a white living room.\" width=\"608\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg 608w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8-160x90.jpg 160w\" sizes=\"(max-width: 608px) 100vw, 608px\">\u003cfigcaption class=\"wp-caption-text\">YouTube star and documentary film-maker Andrew Callaghan has publicly apologized after women came forward to say he sexually assaulted or coerced them.\u003c/figcaption>\u003c/figure>\n\u003cp>Callaghan is a self-styled journalist for the digital age whose irreverent YouTube videos have earned him fame across several platforms. His brand, \u003cem>Channel 5\u003c/em> news, has 600,000 followers on Instagram and another 2.25 million on YouTube.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callaghan got his start while a student at Loyola University in New Orleans, where he launched a YouTube series called \u003cem>Quarter Confessions.\u003c/em> Wearing pale suits and carrying a corded microphone, Callaghan interviewed intoxicated Bourbon Street party-goers, editing together their wildest statements with quick cuts and intentionally outdated effects.\u003c/p>\n\u003cp>In 2019, he took that style of filmmaking across the country in a beat-up RV, stopping for interviews at sites like a flat-earthers’ conference and the Talladega Speedway. The show, \u003cem>All Gas No Brakes\u003c/em>, \u003ca href=\"https://www.nytimes.com/2021/03/23/style/all-gas-no-brakes.html\">fell apart in 2021 after a contract dispute\u003c/a> with its production company, Doing Things Media.\u003c/p>\n\u003cp>Callaghan then started the Patreon-funded\u003cem> Channel 5. \u003c/em>The series has amassed over 106 million YouTube views since April 2021.\u003c/p>\n\u003cp>His following has only broadened since the Dec. 30 release of his first HBO documentary, \u003cem>This Place Rules, \u003c/em>which examines the cultural divisions underlying the Jan. 6 attack on the U.S. Capitol.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH_rX9S6sU8\u003c/p>\n\u003cp>In interviews with legacy journalists about his unfiltered reporting, Callaghan has defended his popularity among younger millennials and elder Gen Z’ers as a bit of media mockery in the service of media literacy.\u003c/p>\n\u003cp>He says giving airtime to fringe voices is an actual form of reporting in an age of overwhelming journalistic punditry.\u003c/p>\n\u003cp>“When there is a massive divide in America, you’re going to find interviews on the fringe,” he \u003ca href=\"https://www.npr.org/2022/12/31/1146453216/andrew-callaghan-on-new-jan-6-documentary-this-place-rules\">said in a recent interview with NPR\u003c/a>. “What we try to do is physically speak to people, actually show up and be there and ask people simple questions like, ‘What’s on your mind? How are you feeling?’”\u003c/p>\n\u003cp>He added that he lets the subjects “guide the conversation” in contrast to cable news reporters who use talking-head panels to “get the viewer as pissed off as possible.”\u003c/p>\n\u003ch3>Here’s when the allegations began to spread\u003c/h3>\n\u003cp>The claims against Callaghan began to go viral on Jan. 5, when a TikTok user who goes by the name Caroline Elise (@cornbreadasserole) posted a 2-minute video saying Callaghan pressured her into performing sexual acts with him.\u003c/p>\n\u003cp>[aside postid='arts_13923167']She said Callaghan, whom she’d been messaging on Instagram, asked to stay over at her house because he’d had a falling out with a crew member.\u003c/p>\n\u003cp>“I was very clear about the fact that we are not hooking up,” she said. “He gets in my bed and wears me down to the point where I eventually do agree to do things I wasn’t proud of.”\u003c/p>\n\u003cp>On Jan. 7, she posted again, sharing screenshots of messages she exchanged with Callaghan in 2021 and a photo of them together. She also shared screenshots of at least 10 messages from people saying they’d had a similar experience with Callaghan or knew of someone who had.\u003c/p>\n\u003cp>Caroline Elise has since deleted the videos from her TikTok feed, saying the response had diminished her mental health. But other users have saved and continue to share the videos across other platforms.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/waveninja1/status/1612866496266645505\">One version of it posted to Twitter\u003c/a> has been viewed over 756,000 times. \u003ca href=\"https://www.twitch.tv/videos/1702531869\">A version shared on a Twitch livestream\u003c/a> has over 833,000 views.\u003c/p>\n\u003cp>https://twitter.com/waveninja1/status/1612866496266645505\u003c/p>\n\u003cp>Caroline Elise said she didn’t want to talk directly to NPR also for mental health reasons. She instead put us in touch with a long-time friend, whose name we’ve agreed to withhold over her fears of online harassment.\u003c/p>\n\u003cp>The friend said that Callaghan knew how Caroline Elise felt about the incident months before she’d ever posted it to TikTok. The friend shared screenshots of Instagram posts from August 2021, in which the friend warned other women in her city that Callaghan had “knowingly assaulted my friend and got away with it.”\u003c/p>\n\u003cp>The friend also shared screenshots of a text message conversation that took place between Callaghan and Caroline Elise in December 2021, after Caroline Elise had confronted Callaghan about his behavior.\u003c/p>\n\u003cp>In one long message, Callaghan said he recognized that the social power dynamics at play “can dramatically warp consent” and had tried to unpack his behavior in therapy.\u003c/p>\n\u003cp>He also said that “prior partners” from New Orleans and Nashville had reached out to him in response to the Instagram posts and had “started dialogues with him that have benefitted all our lives for the better.”\u003c/p>\n\u003cp>“I want to do whatever I possibly can to be accountable and support you in whatever way you’d like,” the message continues. “It would mean the world to me to be able to have an open conversation with you.”\u003c/p>\n\u003ch3>A second accuser claims Callaghan sexually assaulted her in 2019\u003c/h3>\n\u003cp>Caroline Elise’s video prompted another woman, a TikTok user who goes by the name Dana (@moldyfreckle), to come forward.\u003c/p>\n\u003cp>In a series of videos, Dana said Callaghan assaulted her on a drive home from dinner, first kissing her neck, then putting his hand down her pants and putting her hands on his crotch as she was telling him to stop. Callaghan left the car after she’d asked multiple times, Dana said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7186167704103996715\" data-video-id=\"7186167704103996715\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a> Part 4. This will be my last video tonight. \u003ca title=\"andrewcallaghan\" href=\"https://www.tiktok.com/tag/andrewcallaghan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#andrewcallaghan\u003c/a> \u003ca title=\"allgasnobrakes\" href=\"https://www.tiktok.com/tag/allgasnobrakes?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#allgasnobrakes\u003c/a> \u003ca title=\"thisplacerules\" href=\"https://www.tiktok.com/tag/thisplacerules?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thisplacerules\u003c/a> \u003ca title=\"channel5\" href=\"https://www.tiktok.com/tag/channel5?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#channel5\u003c/a> \u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7186167830167997226?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Dana later posted a video showing screenshots of her messages with Callahan in January 2019. She hasn’t responded to multiple requests from NPR.\u003c/p>\n\u003cp>In addressing the responses to her videos, Dana dismissed ideas that she was seeking clout, money or trying to sabotage Callaghan’s success.\u003c/p>\n\u003cp>“I’m not going to let someone else go through this alone,” she said in her TikTok post, referencing Caroline’s video. “I’m just saying the truth right now and I don’t care what you believe, but I want other women who he’s affected to feel comfortable talking about it.”\u003c/p>\n\u003cp>While the stories from Dana and Caroline Elise have remained the most widely shared and commented upon, several other people have since posted in comments or videos claiming similarly pushy sexual behavior. They say their experiences with Callaghan formed a pattern.\u003c/p>\n\u003ch3>How did Callaghan respond?\u003c/h3>\n\u003cp>In a video posted to Instagram on Sunday, Callaghan thanked the people who’d spoken out about “different ways in which my behavior has made them feel uncomfortable or pressured during a sexual situation” and apologized to them, as well as his collaborators. He did not single out any particular accusations, or confirm or deny any specific accusations circulating.\u003c/p>\n\u003cp>https://www.instagram.com/p/CndGN_Av97E/\u003c/p>\n\u003cp>He did, however, say that he thought many of the accusations were missing important contextual information.\u003c/p>\n\u003cp>“I want to make a few things clear: I’ve always taken no for an answer,” he said. “As far as consent, I’ve never overstepped that line.”\u003c/p>\n\u003cp>“Up until this point, I didn’t really realize that I had this pattern that affected multiple people,” he said, later adding that he thought going home from a bar alone “made you a loser” and that “persistence was a form of flattery.”\u003c/p>\n\u003cp>Callaghan had largely laid low online and in public \u003ca href=\"https://www.motherjones.com/politics/2023/01/this-place-rules-is-a-peoples-history-of-january-6-documentary-npr-cnn/\">since a tumultuous live interview\u003c/a> with \u003ca href=\"https://www.wbur.org/events/822709/this-place-rules-hbo-original-screening-and-conversation-with-gonzo-journalist-andrew-callaghan-on-the-jan-6-insurrection\">NPR member station WBUR\u003c/a> on Jan. 4. He explained in the video that he’d waited nearly two weeks to respond because he was in a state of shock and “spiraled into a mental health crisis.”\u003c/p>\n\u003cp>Callaghan also said he believes alcohol may have contributed to his decision-making and said that he’s planning to join a 12-step program.\u003c/p>\n\u003cp>Dana \u003ca href=\"https://www.youtube.com/watch?v=bD8g_ZfcrEo\">posted YouTube\u003c/a> and TikTok videos on Wednesday evening saying that she didn’t believe the apology was genuine and she didn’t forgive him, but also that she was finished talking about it.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7189806338938178862\" data-video-id=\"7189806338938178862\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a>\u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7189806337738443566?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>“I’m fed up, and I know other people are getting fed up,” she said. “It’s called karma. It’s not blackmail. It’s not revenge, it’s just how it goes.”\u003c/p>\n\u003cp>Caroline Elise had not publicly addressed Callaghan’s statements at the time of publication.\u003c/p>\n\u003ch3>What about the blackmail claims?\u003c/h3>\n\u003cp>Three days before Callaghan’s Instagram video, news outlets \u003ca href=\"https://www.tmz.com/2023/01/12/andrew-callaghan-all-gas-no-brakes-responds-sexual-assault-accusation/\">like TMZ\u003c/a> and \u003ca href=\"https://variety.com/2023/digital/news/andrew-callaghan-allegations-tim-heidecker-1235484693/\">\u003cem>Variety\u003c/em> \u003c/a>published portions of a statement, shared by a “legal representative” for Callaghan, which acknowledged Callaghan’s need to re-evaluate his behavior but also pointed to “multiple sides to a story.”\u003c/p>\n\u003cp>“While every dynamic is open to interpretation and proper communication is critical from all those involved, repeated requests for money should not be part of these conversations,” reads the statement, according to both outlets.\u003c/p>\n\u003cp>Neither Callaghan’s agent or publicist responded to NPR’s request for confirmation of the statement. Callaghan hasn’t responded to multiple NPR attempts to reach him through his social media.\u003c/p>\n\u003cp>Caroline Elise’s friend shared a screenshot of one message Caroline Elise sent to Callaghan six days before posting the allegations on TikTok.\u003c/p>\n\u003cp>The message includes the handle of Caroline Elise’s Venmo account. She wrote Callaghan could use it if “HBO cuts you a fat check, and you in any way feel like helping contribute to the massive amounts of therapy bills I have accrued.”\u003c/p>\n\u003cp>Caroline Elise’s friend told NPR that’s the only time Caroline Elise had brought up the prospect of him reimbursing her in their conversations together. Callaghan never responded to the text, Caroline Elise’s friend said.\u003c/p>\n\u003cp>Caroline Elise confirmed through her friend that she shared the allegation to raise awareness of Callaghan’s behavior. She has no plans to file a police report or a lawsuit, her friend told NPR.\u003c/p>\n\u003cfigure id=\"attachment_13923922\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg\" alt=\"\" width=\"591\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8-160x120.jpg 160w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot provided to NPR by a close friend of the TikTok user Caroline, who claims Andrew Callaghan coerced her into having sex in 2021. \u003ccite>(Screenshot provided to NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How did Callaghan’s fans react to the allegations?\u003c/h3>\n\u003cp>The claims, statements and reaction quickly spread on several social media platforms, where users, many of them anonymous, dissected Callaghan’s behavior in ways reminiscent of 2016’s #MeToo eruption, but with new cancel culture considerations.\u003c/p>\n\u003cp>The Reddit forum r/Channel5ive, which is in the top 5% of Reddit communities by size, was once dedicated to Callaghan fan adoration. Now it contains over 100 posts dedicated to investigating the allegations and debating which of the alleged behaviors crossed the line.\u003c/p>\n\u003cp>“Drinking with someone, inviting someone into your home, even inviting someone into your bed does not equal consent,” \u003ca href=\"https://www.reddit.com/r/Channel5ive/comments/105vp67/whatever_the_truth_is_we_as_a_community_need_to/\">wrote one user in a post\u003c/a> that received 1,100 up votes and 382 comments.\u003c/p>\n\u003cp>“I’m not saying let’s just ‘cancel’ the whole thing, but I really don’t like people saying we can just separate his journalism from his misconduct,” posted another.\u003c/p>\n\u003cp>Responding to requests by users, moderators eventually removed a Patreon link supporting Callaghan’s work and replaced it with a link to the National Women’s Law Center, which helps victims of sexual assault.\u003c/p>\n\u003cp>https://twitter.com/_letterbxmb/status/1612620941619597313\u003c/p>\n\u003cp>YouTube and Twitch streamers whose audiences overlap with Callaghan’s also parsed through the allegations and apology, trying to glean universal lessons.\u003c/p>\n\u003cp>Twitch streamer Hasan Piker (@Hasanabi), who boasts 2.3 million subscribers, \u003ca href=\"https://www.youtube.com/watch?v=woYpUM0EKqg\">said in his third video mentioning the allegations\u003c/a> that Callaghan’s apology is promising but that it’s only natural that his fans wait before passing judgment.\u003c/p>\n\u003cp>“People are not going to read this with any kind of charitability,” because Callaghan hasn’t done anything yet to demonstrate how he’s changed, Piker predicted.\u003c/p>\n\u003ch3>What does this mean for ‘Channel 5’ and Callaghan’s work?\u003c/h3>\n\u003cp>In his video apology, Callaghan said he wasn’t sure what comes next, but he wanted to take a step back from public life while he processed his behavior.\u003c/p>\n\u003cp>“I’m only 25 years old and I have my whole life ahead of me,” he said, adding that reporting was still his first love.\u003c/p>\n\u003cp>Tim Heidecker, a comedian who helped produce \u003cem>This Place Rules\u003c/em>, addressed the allegations on \u003ca href=\"https://podcasts.apple.com/us/podcast/234-atsuko-okatsuka/id1153746716?i=1000594133836\">his \u003cem>Office Hours\u003c/em> podcast last Thursday\u003c/a> by saying he had no plans to collaborate with Callaghan again in the future.\u003c/p>\n\u003cp>https://twitter.com/OfficeHrsLive/status/1613596594925981696\u003c/p>\n\u003cp>“We have no professional relationship with Andrew at this time and have no plans to have any relationship with him,” Heidecker said, speaking on behalf of his comedy and production partner, Eric Wareheim.\u003c/p>\n\u003cp>A publicist for Heidecker and Wareheim told NPR the pair had no updated comments on Callaghan’s apology. The press offices for A24 and HBO did not respond to NPR’s requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The YouTube page for \u003cem>Channel 5\u003c/em>, which had been sharing clips from \u003cem>This Place Rules\u003c/em> for the last three weeks, hasn’t posted a new video since the week the allegations surfaced.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+full+guide+to+the+sexual+misconduct+allegations+against+YouTuber+Andrew+Callaghan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Callaghan, a documentarian behind YouTube’s \u003cem>Channel 5\u003c/em> and HBO’s \u003cem>This Place Rules\u003c/em>, is known for chronicling spectacles from Phish shows to white nationalist rallies.\u003c/p>\n\u003cp>But this month, the 25-year-old was himself the story after thousands of social media users saw a pattern of misconduct in first- and second-hand accounts of women’s experiences that were shared across platforms in public comments and videos.\u003c/p>\n\u003cp>Callaghan addressed the allegations in an Instagram post on Sunday, apologizing to the women and pledging to examine his behavior in therapy.\u003c/p>\n\u003cp>But for many who follow Callaghan’s work, the incident raises questions about Gen Z’s tolerance for sexually questionable behavior.\u003c/p>\n\u003cp>Here’s an account of what has happened as of Friday.\u003c/p>\n\u003ch3>Who is Andrew Callaghan?\u003c/h3>\n\u003cfigure id=\"attachment_13923923\" class=\"wp-caption aligncenter\" style=\"max-width: 608px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg\" alt=\"An unkempt young white man with messy shoulder length hair looks into a camera. He is sitting in a white living room.\" width=\"608\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg 608w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8-160x90.jpg 160w\" sizes=\"(max-width: 608px) 100vw, 608px\">\u003cfigcaption class=\"wp-caption-text\">YouTube star and documentary film-maker Andrew Callaghan has publicly apologized after women came forward to say he sexually assaulted or coerced them.\u003c/figcaption>\u003c/figure>\n\u003cp>Callaghan is a self-styled journalist for the digital age whose irreverent YouTube videos have earned him fame across several platforms. His brand, \u003cem>Channel 5\u003c/em> news, has 600,000 followers on Instagram and another 2.25 million on YouTube.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callaghan got his start while a student at Loyola University in New Orleans, where he launched a YouTube series called \u003cem>Quarter Confessions.\u003c/em> Wearing pale suits and carrying a corded microphone, Callaghan interviewed intoxicated Bourbon Street party-goers, editing together their wildest statements with quick cuts and intentionally outdated effects.\u003c/p>\n\u003cp>In 2019, he took that style of filmmaking across the country in a beat-up RV, stopping for interviews at sites like a flat-earthers’ conference and the Talladega Speedway. The show, \u003cem>All Gas No Brakes\u003c/em>, \u003ca href=\"https://www.nytimes.com/2021/03/23/style/all-gas-no-brakes.html\">fell apart in 2021 after a contract dispute\u003c/a> with its production company, Doing Things Media.\u003c/p>\n\u003cp>Callaghan then started the Patreon-funded\u003cem> Channel 5. \u003c/em>The series has amassed over 106 million YouTube views since April 2021.\u003c/p>\n\u003cp>His following has only broadened since the Dec. 30 release of his first HBO documentary, \u003cem>This Place Rules, \u003c/em>which examines the cultural divisions underlying the Jan. 6 attack on the U.S. Capitol.\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/MH_rX9S6sU8'\n title='//www.youtube.com/embed/MH_rX9S6sU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In interviews with legacy journalists about his unfiltered reporting, Callaghan has defended his popularity among younger millennials and elder Gen Z’ers as a bit of media mockery in the service of media literacy.\u003c/p>\n\u003cp>He says giving airtime to fringe voices is an actual form of reporting in an age of overwhelming journalistic punditry.\u003c/p>\n\u003cp>“When there is a massive divide in America, you’re going to find interviews on the fringe,” he \u003ca href=\"https://www.npr.org/2022/12/31/1146453216/andrew-callaghan-on-new-jan-6-documentary-this-place-rules\">said in a recent interview with NPR\u003c/a>. “What we try to do is physically speak to people, actually show up and be there and ask people simple questions like, ‘What’s on your mind? How are you feeling?’”\u003c/p>\n\u003cp>He added that he lets the subjects “guide the conversation” in contrast to cable news reporters who use talking-head panels to “get the viewer as pissed off as possible.”\u003c/p>\n\u003ch3>Here’s when the allegations began to spread\u003c/h3>\n\u003cp>The claims against Callaghan began to go viral on Jan. 5, when a TikTok user who goes by the name Caroline Elise (@cornbreadasserole) posted a 2-minute video saying Callaghan pressured her into performing sexual acts with him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said Callaghan, whom she’d been messaging on Instagram, asked to stay over at her house because he’d had a falling out with a crew member.\u003c/p>\n\u003cp>“I was very clear about the fact that we are not hooking up,” she said. “He gets in my bed and wears me down to the point where I eventually do agree to do things I wasn’t proud of.”\u003c/p>\n\u003cp>On Jan. 7, she posted again, sharing screenshots of messages she exchanged with Callaghan in 2021 and a photo of them together. She also shared screenshots of at least 10 messages from people saying they’d had a similar experience with Callaghan or knew of someone who had.\u003c/p>\n\u003cp>Caroline Elise has since deleted the videos from her TikTok feed, saying the response had diminished her mental health. But other users have saved and continue to share the videos across other platforms.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/waveninja1/status/1612866496266645505\">One version of it posted to Twitter\u003c/a> has been viewed over 756,000 times. \u003ca href=\"https://www.twitch.tv/videos/1702531869\">A version shared on a Twitch livestream\u003c/a> has over 833,000 views.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Caroline Elise said she didn’t want to talk directly to NPR also for mental health reasons. She instead put us in touch with a long-time friend, whose name we’ve agreed to withhold over her fears of online harassment.\u003c/p>\n\u003cp>The friend said that Callaghan knew how Caroline Elise felt about the incident months before she’d ever posted it to TikTok. The friend shared screenshots of Instagram posts from August 2021, in which the friend warned other women in her city that Callaghan had “knowingly assaulted my friend and got away with it.”\u003c/p>\n\u003cp>The friend also shared screenshots of a text message conversation that took place between Callaghan and Caroline Elise in December 2021, after Caroline Elise had confronted Callaghan about his behavior.\u003c/p>\n\u003cp>In one long message, Callaghan said he recognized that the social power dynamics at play “can dramatically warp consent” and had tried to unpack his behavior in therapy.\u003c/p>\n\u003cp>He also said that “prior partners” from New Orleans and Nashville had reached out to him in response to the Instagram posts and had “started dialogues with him that have benefitted all our lives for the better.”\u003c/p>\n\u003cp>“I want to do whatever I possibly can to be accountable and support you in whatever way you’d like,” the message continues. “It would mean the world to me to be able to have an open conversation with you.”\u003c/p>\n\u003ch3>A second accuser claims Callaghan sexually assaulted her in 2019\u003c/h3>\n\u003cp>Caroline Elise’s video prompted another woman, a TikTok user who goes by the name Dana (@moldyfreckle), to come forward.\u003c/p>\n\u003cp>In a series of videos, Dana said Callaghan assaulted her on a drive home from dinner, first kissing her neck, then putting his hand down her pants and putting her hands on his crotch as she was telling him to stop. Callaghan left the car after she’d asked multiple times, Dana said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7186167704103996715\" data-video-id=\"7186167704103996715\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a> Part 4. This will be my last video tonight. \u003ca title=\"andrewcallaghan\" href=\"https://www.tiktok.com/tag/andrewcallaghan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#andrewcallaghan\u003c/a> \u003ca title=\"allgasnobrakes\" href=\"https://www.tiktok.com/tag/allgasnobrakes?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#allgasnobrakes\u003c/a> \u003ca title=\"thisplacerules\" href=\"https://www.tiktok.com/tag/thisplacerules?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thisplacerules\u003c/a> \u003ca title=\"channel5\" href=\"https://www.tiktok.com/tag/channel5?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#channel5\u003c/a> \u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7186167830167997226?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dana later posted a video showing screenshots of her messages with Callahan in January 2019. She hasn’t responded to multiple requests from NPR.\u003c/p>\n\u003cp>In addressing the responses to her videos, Dana dismissed ideas that she was seeking clout, money or trying to sabotage Callaghan’s success.\u003c/p>\n\u003cp>“I’m not going to let someone else go through this alone,” she said in her TikTok post, referencing Caroline’s video. “I’m just saying the truth right now and I don’t care what you believe, but I want other women who he’s affected to feel comfortable talking about it.”\u003c/p>\n\u003cp>While the stories from Dana and Caroline Elise have remained the most widely shared and commented upon, several other people have since posted in comments or videos claiming similarly pushy sexual behavior. They say their experiences with Callaghan formed a pattern.\u003c/p>\n\u003ch3>How did Callaghan respond?\u003c/h3>\n\u003cp>In a video posted to Instagram on Sunday, Callaghan thanked the people who’d spoken out about “different ways in which my behavior has made them feel uncomfortable or pressured during a sexual situation” and apologized to them, as well as his collaborators. He did not single out any particular accusations, or confirm or deny any specific accusations circulating.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He did, however, say that he thought many of the accusations were missing important contextual information.\u003c/p>\n\u003cp>“I want to make a few things clear: I’ve always taken no for an answer,” he said. “As far as consent, I’ve never overstepped that line.”\u003c/p>\n\u003cp>“Up until this point, I didn’t really realize that I had this pattern that affected multiple people,” he said, later adding that he thought going home from a bar alone “made you a loser” and that “persistence was a form of flattery.”\u003c/p>\n\u003cp>Callaghan had largely laid low online and in public \u003ca href=\"https://www.motherjones.com/politics/2023/01/this-place-rules-is-a-peoples-history-of-january-6-documentary-npr-cnn/\">since a tumultuous live interview\u003c/a> with \u003ca href=\"https://www.wbur.org/events/822709/this-place-rules-hbo-original-screening-and-conversation-with-gonzo-journalist-andrew-callaghan-on-the-jan-6-insurrection\">NPR member station WBUR\u003c/a> on Jan. 4. He explained in the video that he’d waited nearly two weeks to respond because he was in a state of shock and “spiraled into a mental health crisis.”\u003c/p>\n\u003cp>Callaghan also said he believes alcohol may have contributed to his decision-making and said that he’s planning to join a 12-step program.\u003c/p>\n\u003cp>Dana \u003ca href=\"https://www.youtube.com/watch?v=bD8g_ZfcrEo\">posted YouTube\u003c/a> and TikTok videos on Wednesday evening saying that she didn’t believe the apology was genuine and she didn’t forgive him, but also that she was finished talking about it.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7189806338938178862\" data-video-id=\"7189806338938178862\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a>\u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7189806337738443566?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m fed up, and I know other people are getting fed up,” she said. “It’s called karma. It’s not blackmail. It’s not revenge, it’s just how it goes.”\u003c/p>\n\u003cp>Caroline Elise had not publicly addressed Callaghan’s statements at the time of publication.\u003c/p>\n\u003ch3>What about the blackmail claims?\u003c/h3>\n\u003cp>Three days before Callaghan’s Instagram video, news outlets \u003ca href=\"https://www.tmz.com/2023/01/12/andrew-callaghan-all-gas-no-brakes-responds-sexual-assault-accusation/\">like TMZ\u003c/a> and \u003ca href=\"https://variety.com/2023/digital/news/andrew-callaghan-allegations-tim-heidecker-1235484693/\">\u003cem>Variety\u003c/em> \u003c/a>published portions of a statement, shared by a “legal representative” for Callaghan, which acknowledged Callaghan’s need to re-evaluate his behavior but also pointed to “multiple sides to a story.”\u003c/p>\n\u003cp>“While every dynamic is open to interpretation and proper communication is critical from all those involved, repeated requests for money should not be part of these conversations,” reads the statement, according to both outlets.\u003c/p>\n\u003cp>Neither Callaghan’s agent or publicist responded to NPR’s request for confirmation of the statement. Callaghan hasn’t responded to multiple NPR attempts to reach him through his social media.\u003c/p>\n\u003cp>Caroline Elise’s friend shared a screenshot of one message Caroline Elise sent to Callaghan six days before posting the allegations on TikTok.\u003c/p>\n\u003cp>The message includes the handle of Caroline Elise’s Venmo account. She wrote Callaghan could use it if “HBO cuts you a fat check, and you in any way feel like helping contribute to the massive amounts of therapy bills I have accrued.”\u003c/p>\n\u003cp>Caroline Elise’s friend told NPR that’s the only time Caroline Elise had brought up the prospect of him reimbursing her in their conversations together. Callaghan never responded to the text, Caroline Elise’s friend said.\u003c/p>\n\u003cp>Caroline Elise confirmed through her friend that she shared the allegation to raise awareness of Callaghan’s behavior. She has no plans to file a police report or a lawsuit, her friend told NPR.\u003c/p>\n\u003cfigure id=\"attachment_13923922\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg\" alt=\"\" width=\"591\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8-160x120.jpg 160w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot provided to NPR by a close friend of the TikTok user Caroline, who claims Andrew Callaghan coerced her into having sex in 2021. \u003ccite>(Screenshot provided to NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How did Callaghan’s fans react to the allegations?\u003c/h3>\n\u003cp>The claims, statements and reaction quickly spread on several social media platforms, where users, many of them anonymous, dissected Callaghan’s behavior in ways reminiscent of 2016’s #MeToo eruption, but with new cancel culture considerations.\u003c/p>\n\u003cp>The Reddit forum r/Channel5ive, which is in the top 5% of Reddit communities by size, was once dedicated to Callaghan fan adoration. Now it contains over 100 posts dedicated to investigating the allegations and debating which of the alleged behaviors crossed the line.\u003c/p>\n\u003cp>“Drinking with someone, inviting someone into your home, even inviting someone into your bed does not equal consent,” \u003ca href=\"https://www.reddit.com/r/Channel5ive/comments/105vp67/whatever_the_truth_is_we_as_a_community_need_to/\">wrote one user in a post\u003c/a> that received 1,100 up votes and 382 comments.\u003c/p>\n\u003cp>“I’m not saying let’s just ‘cancel’ the whole thing, but I really don’t like people saying we can just separate his journalism from his misconduct,” posted another.\u003c/p>\n\u003cp>Responding to requests by users, moderators eventually removed a Patreon link supporting Callaghan’s work and replaced it with a link to the National Women’s Law Center, which helps victims of sexual assault.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>YouTube and Twitch streamers whose audiences overlap with Callaghan’s also parsed through the allegations and apology, trying to glean universal lessons.\u003c/p>\n\u003cp>Twitch streamer Hasan Piker (@Hasanabi), who boasts 2.3 million subscribers, \u003ca href=\"https://www.youtube.com/watch?v=woYpUM0EKqg\">said in his third video mentioning the allegations\u003c/a> that Callaghan’s apology is promising but that it’s only natural that his fans wait before passing judgment.\u003c/p>\n\u003cp>“People are not going to read this with any kind of charitability,” because Callaghan hasn’t done anything yet to demonstrate how he’s changed, Piker predicted.\u003c/p>\n\u003ch3>What does this mean for ‘Channel 5’ and Callaghan’s work?\u003c/h3>\n\u003cp>In his video apology, Callaghan said he wasn’t sure what comes next, but he wanted to take a step back from public life while he processed his behavior.\u003c/p>\n\u003cp>“I’m only 25 years old and I have my whole life ahead of me,” he said, adding that reporting was still his first love.\u003c/p>\n\u003cp>Tim Heidecker, a comedian who helped produce \u003cem>This Place Rules\u003c/em>, addressed the allegations on \u003ca href=\"https://podcasts.apple.com/us/podcast/234-atsuko-okatsuka/id1153746716?i=1000594133836\">his \u003cem>Office Hours\u003c/em> podcast last Thursday\u003c/a> by saying he had no plans to collaborate with Callaghan again in the future.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We have no professional relationship with Andrew at this time and have no plans to have any relationship with him,” Heidecker said, speaking on behalf of his comedy and production partner, Eric Wareheim.\u003c/p>\n\u003cp>A publicist for Heidecker and Wareheim told NPR the pair had no updated comments on Callaghan’s apology. The press offices for A24 and HBO did not respond to NPR’s requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The YouTube page for \u003cem>Channel 5\u003c/em>, which had been sharing clips from \u003cem>This Place Rules\u003c/em> for the last three weeks, hasn’t posted a new video since the week the allegations surfaced.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+full+guide+to+the+sexual+misconduct+allegations+against+YouTuber+Andrew+Callaghan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "When Her Mother Goes ‘Missing,’ a Gen-Z Teen Takes up a Tense Search on Screens",
"headTitle": "When Her Mother Goes ‘Missing,’ a Gen-Z Teen Takes up a Tense Search on Screens | KQED",
"content": "\u003cp>It is a truth universally acknowledged that repetition often destroys elegance.\u003c/p>\n\u003cp>Compare the elegance of \u003cem>Speed\u003c/em> (if this bus slows down, it will blow up) with the clumsy \u003cem>Speed 2: Cruise Control \u003c/em>(this cruise ship is going to very slowly run into a beach). The elegance of \u003cem>The Fast and the Furious \u003c/em>(street racing is fun!) with Ludacris and Tyrese Gibson ending up in space. The elegance of \u003cem>Die Hard \u003c/em>(one cop tries to rescue a building full of hostages) with … well, any other \u003cem>Die Hard \u003c/em>movie.\u003c/p>\n\u003cp>[aside postid='arts_13923818']The 2014 horror film \u003cem>Unfriended\u003c/em>, an early entry in the “screenlife” category in which everything plays out on computer screens, is formally elegant — simple, economical and effective. Mostly, you are just watching a group video call, with periodic visits to other places like Facebook or sketchy, unpleasantly believable forums where links seem like they could lead anywhere. And that video call, it turns out, is haunted, and will gradually knock off everybody on it. That’s the story; that’s the format. Screenlife has ties not just to “found-footage” movies (also formally elegant: \u003cem>The Blair Witch Project\u003c/em>), but to epistolary novels, too. In all these forms, the traditional telling of a story is replaced by the opportunity for the viewer/reader to examine the evidence that the story happened.\u003c/p>\n\u003cp>One of the producers of \u003cem>Unfriended \u003c/em>was Timur Bekmambetov, who was also a producer of not only its follow-up \u003cem>Unfriended: Dark Web\u003c/em>, but also the 2018 screenlife thriller \u003cem>Searching\u003c/em>. \u003cem>Searching\u003c/em> was directed by Aneesh Chaganty and stars John Cho as a father stumbling through the digital life of his teenage daughter trying to solve the mystery of her disappearance. And now, Bekmambetov is a producer of \u003cem>Missing\u003c/em>, which is a flashier, snazzier, and — yes — less formally elegant project written and directed by Nick Johnson and Will Merrick, who were editors on \u003cem>Searching\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>stars Storm Reid as June, a bright and restless young woman whose mother, Grace (Nia Long), vanishes during a vacation to Colombia with her boyfriend, Kevin (Ken Leung). In an inversion of \u003cem>Searching’\u003c/em>s tense portrayal of a father who feels helpless and adrift in the complexities of his daughter’s highly connected life, \u003cem>Missing \u003c/em>makes June a Gen-Z’er who knows how to get around adults who reuse their passwords, don’t secure their devices, and thus leave themselves open to all manner of snooping. This is her environment; she is at home here on her screens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=seBixtcx19E\u003c/p>\n\u003cp>It’s a good thing June feels at ease with her tech, because 10 years after \u003cem>Unfriended\u003c/em>, her online life has grown far more complicated than that haunted video call. She has a Ring doorbell, she has voice-activated everything, she can chat with people around the world who are not in front of their computers, she inhabits a world full of live webcams, and home security systems have boomed. Her social media life isn’t about a Facebook page; it’s about bits and bobs scattered all over. She’s also not John Cho’s David from \u003cem>Searching\u003c/em>, who slowly explores one platform at a time, painstakingly dragging individual snippets of information out of the dark. June hops from window to window like a plate-spinner; following her “screenlife” investigation of her mother’s disappearance is dizzying. It is her \u003cem>expectation\u003c/em> that information she needs can be found somewhere, from her laptop. The editing has been accelerated and complicated by self-consciously inventive visual transitions, and regrettably, a lot of the simplicity has been lost.\u003c/p>\n\u003cp>[aside postid='arts_13891785']There is something bracingly confident, in retrospect, about \u003cem>Unfriended\u003c/em>, which plays out the boring acts of typing and scrolling in real time, the frustrations of trying over and over to click on things that cannot be clicked on. (Because it’s got a virus and that virus is … a ghost.) In classic horror style, what is unseen in that film is often more frightening than what is seen, and what is seen is limited by the format. While it’s a thriller rather than a horror film, \u003cem>Searching\u003c/em>, too, moves deliberately, making limited and effective use of hidden cameras, streaming, and other avenues that allow a found-footage style (more similar to \u003cem>Paranormal Activity \u003c/em>or \u003cem>The Blair Witch Project\u003c/em>) to take over from a pure screenlife style.\u003c/p>\n\u003cp>Much of \u003cem>Missing\u003c/em>, however, particularly late in its story, is more a found-footage film than a screenlife film. It doesn’t rely on messages, chats, forums, or that dance of typing and scrolling — it shows you a regular scene, but from the perspective of a camera that exists inside the story.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>is not a bad film; it’s a good film. It’s smart, Reid is terrific, the thriller elements are gripping, the twists are surprising, and some of the moments in which June outsmarts people who are trying to cut her off from information she needs are highly satisfying. At the same time, it feels, in a way that’s a bit deflating, like a regression to the mean, where the repetition of this format across films (with perhaps greater and greater box-office expectations) makes them less and less formally interesting.\u003c/p>\n\u003cp>[aside postid='arts_13923783']June’s active, inventive exploration of online information is also, perhaps, part of the evolution of a concept that travels from the horror realm to the thriller realm, with the shift in intensity that suggests. Maybe if a thriller is about what frightens you, a horror film is about what frightens you \u003cem>most\u003c/em> — that’s an oversimplification and certainly not the genre definition, but it captures something about the difference between the adrenaline of thrillers and the visceral wallop of horror.\u003c/p>\n\u003cp>What frightens many of us \u003cem>most\u003c/em> is not peril itself, but the growing sense of helplessness and hopelessness that horror does so well. What June has at her disposal is a multiplicity of tools, of new avenues to explore. \u003cem>Missing \u003c/em>is a study of the ways in which the internet is full of a hundred ways to solve a problem; it’s a story about bending these tools to your will. \u003cem>Unfriended \u003c/em>was about the anonymous message, the blank page, the blinking cursor, the grayed-out option, the spinning ball, the baffling intrusion — online life when it doesn’t work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But it’s hard not to wonder what a thriller would look like that had more faith in this format, that didn’t feel so beholden to found-footage films. It’s another truth universally acknowledged that limitations often spur creativity; \u003cem>Missing \u003c/em>without the benefit of quite so many accessible cameras for June to peek through would be an adventure all its own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+her+mother+goes+%27Missing%2C%27+a+Gen-Z+teen+takes+up+a+tense+search+on+screens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is a truth universally acknowledged that repetition often destroys elegance.\u003c/p>\n\u003cp>Compare the elegance of \u003cem>Speed\u003c/em> (if this bus slows down, it will blow up) with the clumsy \u003cem>Speed 2: Cruise Control \u003c/em>(this cruise ship is going to very slowly run into a beach). The elegance of \u003cem>The Fast and the Furious \u003c/em>(street racing is fun!) with Ludacris and Tyrese Gibson ending up in space. The elegance of \u003cem>Die Hard \u003c/em>(one cop tries to rescue a building full of hostages) with … well, any other \u003cem>Die Hard \u003c/em>movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 2014 horror film \u003cem>Unfriended\u003c/em>, an early entry in the “screenlife” category in which everything plays out on computer screens, is formally elegant — simple, economical and effective. Mostly, you are just watching a group video call, with periodic visits to other places like Facebook or sketchy, unpleasantly believable forums where links seem like they could lead anywhere. And that video call, it turns out, is haunted, and will gradually knock off everybody on it. That’s the story; that’s the format. Screenlife has ties not just to “found-footage” movies (also formally elegant: \u003cem>The Blair Witch Project\u003c/em>), but to epistolary novels, too. In all these forms, the traditional telling of a story is replaced by the opportunity for the viewer/reader to examine the evidence that the story happened.\u003c/p>\n\u003cp>One of the producers of \u003cem>Unfriended \u003c/em>was Timur Bekmambetov, who was also a producer of not only its follow-up \u003cem>Unfriended: Dark Web\u003c/em>, but also the 2018 screenlife thriller \u003cem>Searching\u003c/em>. \u003cem>Searching\u003c/em> was directed by Aneesh Chaganty and stars John Cho as a father stumbling through the digital life of his teenage daughter trying to solve the mystery of her disappearance. And now, Bekmambetov is a producer of \u003cem>Missing\u003c/em>, which is a flashier, snazzier, and — yes — less formally elegant project written and directed by Nick Johnson and Will Merrick, who were editors on \u003cem>Searching\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>stars Storm Reid as June, a bright and restless young woman whose mother, Grace (Nia Long), vanishes during a vacation to Colombia with her boyfriend, Kevin (Ken Leung). In an inversion of \u003cem>Searching’\u003c/em>s tense portrayal of a father who feels helpless and adrift in the complexities of his daughter’s highly connected life, \u003cem>Missing \u003c/em>makes June a Gen-Z’er who knows how to get around adults who reuse their passwords, don’t secure their devices, and thus leave themselves open to all manner of snooping. This is her environment; she is at home here on her screens.\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/seBixtcx19E'\n title='//www.youtube.com/embed/seBixtcx19E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a good thing June feels at ease with her tech, because 10 years after \u003cem>Unfriended\u003c/em>, her online life has grown far more complicated than that haunted video call. She has a Ring doorbell, she has voice-activated everything, she can chat with people around the world who are not in front of their computers, she inhabits a world full of live webcams, and home security systems have boomed. Her social media life isn’t about a Facebook page; it’s about bits and bobs scattered all over. She’s also not John Cho’s David from \u003cem>Searching\u003c/em>, who slowly explores one platform at a time, painstakingly dragging individual snippets of information out of the dark. June hops from window to window like a plate-spinner; following her “screenlife” investigation of her mother’s disappearance is dizzying. It is her \u003cem>expectation\u003c/em> that information she needs can be found somewhere, from her laptop. The editing has been accelerated and complicated by self-consciously inventive visual transitions, and regrettably, a lot of the simplicity has been lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something bracingly confident, in retrospect, about \u003cem>Unfriended\u003c/em>, which plays out the boring acts of typing and scrolling in real time, the frustrations of trying over and over to click on things that cannot be clicked on. (Because it’s got a virus and that virus is … a ghost.) In classic horror style, what is unseen in that film is often more frightening than what is seen, and what is seen is limited by the format. While it’s a thriller rather than a horror film, \u003cem>Searching\u003c/em>, too, moves deliberately, making limited and effective use of hidden cameras, streaming, and other avenues that allow a found-footage style (more similar to \u003cem>Paranormal Activity \u003c/em>or \u003cem>The Blair Witch Project\u003c/em>) to take over from a pure screenlife style.\u003c/p>\n\u003cp>Much of \u003cem>Missing\u003c/em>, however, particularly late in its story, is more a found-footage film than a screenlife film. It doesn’t rely on messages, chats, forums, or that dance of typing and scrolling — it shows you a regular scene, but from the perspective of a camera that exists inside the story.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>is not a bad film; it’s a good film. It’s smart, Reid is terrific, the thriller elements are gripping, the twists are surprising, and some of the moments in which June outsmarts people who are trying to cut her off from information she needs are highly satisfying. At the same time, it feels, in a way that’s a bit deflating, like a regression to the mean, where the repetition of this format across films (with perhaps greater and greater box-office expectations) makes them less and less formally interesting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>June’s active, inventive exploration of online information is also, perhaps, part of the evolution of a concept that travels from the horror realm to the thriller realm, with the shift in intensity that suggests. Maybe if a thriller is about what frightens you, a horror film is about what frightens you \u003cem>most\u003c/em> — that’s an oversimplification and certainly not the genre definition, but it captures something about the difference between the adrenaline of thrillers and the visceral wallop of horror.\u003c/p>\n\u003cp>What frightens many of us \u003cem>most\u003c/em> is not peril itself, but the growing sense of helplessness and hopelessness that horror does so well. What June has at her disposal is a multiplicity of tools, of new avenues to explore. \u003cem>Missing \u003c/em>is a study of the ways in which the internet is full of a hundred ways to solve a problem; it’s a story about bending these tools to your will. \u003cem>Unfriended \u003c/em>was about the anonymous message, the blank page, the blinking cursor, the grayed-out option, the spinning ball, the baffling intrusion — online life when it doesn’t work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s hard not to wonder what a thriller would look like that had more faith in this format, that didn’t feel so beholden to found-footage films. It’s another truth universally acknowledged that limitations often spur creativity; \u003cem>Missing \u003c/em>without the benefit of quite so many accessible cameras for June to peek through would be an adventure all its own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+her+mother+goes+%27Missing%2C%27+a+Gen-Z+teen+takes+up+a+tense+search+on+screens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Saint Omer' is a Complex Courtroom Drama About Much More Than the Murder at Hand",
"headTitle": "‘Saint Omer’ is a Complex Courtroom Drama About Much More Than the Murder at Hand | KQED",
"content": "\u003cp>When I was a kid, I used to watch \u003cem>Perry Mason\u003c/em> every day after school. I was drawn to the show’s black-and-white clarity. Perry always found out who was lying, who was telling the truth, who was guilty — and why.\u003c/p>\n\u003cp>As I grew older, I naturally discovered that things are grayer and more elusive in real world courtrooms. It’s not simply that you can’t always be sure who’s telling the truth, but that sometimes nobody knows the truth well enough to tell it.\u003c/p>\n\u003cp>[aside postid='arts_13923388']This ambiguity takes mesmerizing form in \u003cem>Saint Omer\u003c/em>, the strikingly confident feature debut of Alice Diop, a 43-year-old French filmmaker born of Senegalese immigrants. Based on an actual criminal case in France in which a Senegalese woman killed her baby daughter, Diop’s fictionalized version is at once rigorous, powerful and crackling with ideas about isolation, colonialism, the tricky bonds between mothers and daughters, and the equally tricky human habit of identifying with other people for reasons we may not grasp.\u003c/p>\n\u003cp>\u003cem>Saint Omer\u003c/em> begins with Diop’s surrogate, Rama (Kayije Kagame), a successful intellectual writer who has a white musician boyfriend and a Senegalese mother she can’t quite stand. She heads off from Paris to the town of Saint Omer to watch the trial of Laurence Coly (Guslagie Malanda).\u003c/p>\n\u003cp>Laurence is a Senegalese woman who once dreamed of being a genius philosopher — she casually namechecks Descartes — but now confesses to causing the death of her baby daughter Elise. Rama plans to write a book about her titled, \u003cem>Medea Shipwrecked\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iWw-EyrG5Sw\u003c/p>\n\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>[aside postid='arts_13923573']Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\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=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a kid, I used to watch \u003cem>Perry Mason\u003c/em> every day after school. I was drawn to the show’s black-and-white clarity. Perry always found out who was lying, who was telling the truth, who was guilty — and why.\u003c/p>\n\u003cp>As I grew older, I naturally discovered that things are grayer and more elusive in real world courtrooms. It’s not simply that you can’t always be sure who’s telling the truth, but that sometimes nobody knows the truth well enough to tell it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This ambiguity takes mesmerizing form in \u003cem>Saint Omer\u003c/em>, the strikingly confident feature debut of Alice Diop, a 43-year-old French filmmaker born of Senegalese immigrants. Based on an actual criminal case in France in which a Senegalese woman killed her baby daughter, Diop’s fictionalized version is at once rigorous, powerful and crackling with ideas about isolation, colonialism, the tricky bonds between mothers and daughters, and the equally tricky human habit of identifying with other people for reasons we may not grasp.\u003c/p>\n\u003cp>\u003cem>Saint Omer\u003c/em> begins with Diop’s surrogate, Rama (Kayije Kagame), a successful intellectual writer who has a white musician boyfriend and a Senegalese mother she can’t quite stand. She heads off from Paris to the town of Saint Omer to watch the trial of Laurence Coly (Guslagie Malanda).\u003c/p>\n\u003cp>Laurence is a Senegalese woman who once dreamed of being a genius philosopher — she casually namechecks Descartes — but now confesses to causing the death of her baby daughter Elise. Rama plans to write a book about her titled, \u003cem>Medea Shipwrecked\u003c/em>.\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/iWw-EyrG5Sw'\n title='//www.youtube.com/embed/iWw-EyrG5Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\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=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Decade on, the 'This is Fine' Creator Wants to Put the Famous Dog to Rest",
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"content": "\u003cp>Thanks to a ubiquitous meme, the ironic phrase “This is fine” means things are not really that fine at all.\u003c/p>\n\u003cp>You’ve probably seen it: A smiling cartoon dog sits at a table, coffee mug on hand, as a room goes up in flames. “This is fine,” the dog assures himself.\u003c/p>\n\u003cp>It’s been a decade since its creator put out the comic strip that spawned the meme. Web comic artist KC Green recently marked the anniversary \u003ca href=\"https://twitter.com/kcgreenn/status/1613583689870446592?s=20&t=YFqCjDn2I-3uLks9Ba4rew\">on Twitter\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/kcgreenn/status/1613583689870446592\u003c/p>\n\u003cp>Now after 10 years of using the famous dog in his comics to project his own thoughts and feelings, Green tells NPR that he might be ready for a new chapter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a fun challenge to try and embody a different character,” he said. “And I would like to try that with some of [my] other characters.”\u003c/p>\n\u003cp>He first published the work in 2013 as part of his \u003cem>Gunshow\u003c/em> comic strip. A year later, after the comic’s top two frames were posted to Reddit, the meme went viral.\u003c/p>\n\u003cp>“I remember it first being used on Instagram meme accounts, saying like, ‘When finals week starts,’ … this is fine. ‘When everyone’s yelling at you and you’re supposed to keep a smile on at your work,’ you know, this is fine,” Green said. “It kind of snowballed from there.”\u003c/p>\n\u003cp>[aside postid='arts_13923606']It’s since entered the mainstream. In 2016, the Republican National Convention \u003ca href=\"https://twitter.com/GOP/status/757687865471963137?s=20&t=PO79XqaKi456Tw2lSO_TgA\">posted the meme\u003c/a> on the official GOP Twitter account as a commentary on the first day of the Democratic National Convention. Republican Sen. Richard Burr \u003ca href=\"https://www.c-span.org/video/?c4743193/senator-burr-compares-russian-interference-popular-meme\">referenced the meme in 2018\u003c/a> to convey his stance against Russian interference in American politics.\u003c/p>\n\u003cp>Though his creation has taken on a life of its own, Green accepts it as a natural consequence of what it means to create content online.\u003c/p>\n\u003cp>He thinks his comic panel has resonated with so many people for so many years because of its simplicity.\u003c/p>\n\u003cp>“I made it vague on purpose,” he said. “Like any good piece of art, people interpret it how they want to.”\u003c/p>\n\u003cp>The canine character — whose name is Question Hound — has also been Green’s conduit for the artist’s own state of mind. Green was 25 and focusing on his mental health when he drew the famed “On Fire” strip.\u003c/p>\n\u003cp>“I’d been trying to get my anti-depressants right and taking the meds,” he said. “That was my feeling at the time — of worrying if this was the right choice,” he added. “I believe it was now.”\u003c/p>\n\u003cp>“I was just like, ‘Is this OK or am I doing good? Am I supposed to ignore everything else?’ It kind of feels like you just have to ignore all the insanity around you like a burning house. And the comic just ended up writing itself after that.”\u003c/p>\n\u003cp>He says his job these days is about fighting the fire.\u003c/p>\n\u003cp>[aside postid='arts_13920957']“I’ve still got plenty of people telling me they’ve gotten comfort from that dog,” he said. “Being seen in that way is helpful. But, I like to say, we’re not just accepting it, but working past it, trying to grow from it.”\u003c/p>\n\u003cp>Green says he’s grateful that, through merch and licensing deals, the meme’s success has helped make him enough money to allow him to continue drawing for a living. Adult Swim paid him to use his art for a handful of \u003ca href=\"https://www.youtube.com/watch?v=0oBx7Jg4m-o\">cartoon bumpers\u003c/a> that aired on the network. A crowd-funded project on Kickstarter to make a Question Hound plushie continues to sell out. There’s even a \u003ca href=\"https://twitter.com/kcgreenn/status/1305510931556896769?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1305510931556896769%7Ctwgr%5E65be2520b1021f6e97ebbcaa664d294a69305d97%7Ctwcon%5Es1_c10&ref_url=https%3A%2F%2Fwww.comicsbeat.com%2Ffunko-announces-official-this-is-fine-dog-pop%2F\">“This is fine” Funko Pop\u003c/a>.\u003c/p>\n\u003cp>After drawing it for more than six years, Green wrapped up \u003cem>Gunshow\u003c/em> in 2014, but Question Hound continues to live on in his comic series \u003cem>Funny Online Animals\u003c/em>. However, maybe not for much longer, the artist says.\u003c/p>\n\u003cp>In the comic’s current storyline, Question Hound has disappeared into the woods in a crazed state.\u003c/p>\n\u003cp>“It’s going to have kind of an eerie, noir turn,” he said. “I think after that, I might lay him to rest for a while.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, people still post with or without me using the character or not in my own comic. So, it’s for my own sanity, I suppose.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+decade+on%2C+the+%27This+is+fine%27+creator+wants+to+put+the+famous+dog+to+rest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a fun challenge to try and embody a different character,” he said. “And I would like to try that with some of [my] other characters.”\u003c/p>\n\u003cp>He first published the work in 2013 as part of his \u003cem>Gunshow\u003c/em> comic strip. A year later, after the comic’s top two frames were posted to Reddit, the meme went viral.\u003c/p>\n\u003cp>“I remember it first being used on Instagram meme accounts, saying like, ‘When finals week starts,’ … this is fine. ‘When everyone’s yelling at you and you’re supposed to keep a smile on at your work,’ you know, this is fine,” Green said. “It kind of snowballed from there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s since entered the mainstream. In 2016, the Republican National Convention \u003ca href=\"https://twitter.com/GOP/status/757687865471963137?s=20&t=PO79XqaKi456Tw2lSO_TgA\">posted the meme\u003c/a> on the official GOP Twitter account as a commentary on the first day of the Democratic National Convention. Republican Sen. Richard Burr \u003ca href=\"https://www.c-span.org/video/?c4743193/senator-burr-compares-russian-interference-popular-meme\">referenced the meme in 2018\u003c/a> to convey his stance against Russian interference in American politics.\u003c/p>\n\u003cp>Though his creation has taken on a life of its own, Green accepts it as a natural consequence of what it means to create content online.\u003c/p>\n\u003cp>He thinks his comic panel has resonated with so many people for so many years because of its simplicity.\u003c/p>\n\u003cp>“I made it vague on purpose,” he said. “Like any good piece of art, people interpret it how they want to.”\u003c/p>\n\u003cp>The canine character — whose name is Question Hound — has also been Green’s conduit for the artist’s own state of mind. Green was 25 and focusing on his mental health when he drew the famed “On Fire” strip.\u003c/p>\n\u003cp>“I’d been trying to get my anti-depressants right and taking the meds,” he said. “That was my feeling at the time — of worrying if this was the right choice,” he added. “I believe it was now.”\u003c/p>\n\u003cp>“I was just like, ‘Is this OK or am I doing good? Am I supposed to ignore everything else?’ It kind of feels like you just have to ignore all the insanity around you like a burning house. And the comic just ended up writing itself after that.”\u003c/p>\n\u003cp>He says his job these days is about fighting the fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve still got plenty of people telling me they’ve gotten comfort from that dog,” he said. “Being seen in that way is helpful. But, I like to say, we’re not just accepting it, but working past it, trying to grow from it.”\u003c/p>\n\u003cp>Green says he’s grateful that, through merch and licensing deals, the meme’s success has helped make him enough money to allow him to continue drawing for a living. Adult Swim paid him to use his art for a handful of \u003ca href=\"https://www.youtube.com/watch?v=0oBx7Jg4m-o\">cartoon bumpers\u003c/a> that aired on the network. A crowd-funded project on Kickstarter to make a Question Hound plushie continues to sell out. There’s even a \u003ca href=\"https://twitter.com/kcgreenn/status/1305510931556896769?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1305510931556896769%7Ctwgr%5E65be2520b1021f6e97ebbcaa664d294a69305d97%7Ctwcon%5Es1_c10&ref_url=https%3A%2F%2Fwww.comicsbeat.com%2Ffunko-announces-official-this-is-fine-dog-pop%2F\">“This is fine” Funko Pop\u003c/a>.\u003c/p>\n\u003cp>After drawing it for more than six years, Green wrapped up \u003cem>Gunshow\u003c/em> in 2014, but Question Hound continues to live on in his comic series \u003cem>Funny Online Animals\u003c/em>. However, maybe not for much longer, the artist says.\u003c/p>\n\u003cp>In the comic’s current storyline, Question Hound has disappeared into the woods in a crazed state.\u003c/p>\n\u003cp>“It’s going to have kind of an eerie, noir turn,” he said. “I think after that, I might lay him to rest for a while.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, people still post with or without me using the character or not in my own comic. So, it’s for my own sanity, I suppose.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+decade+on%2C+the+%27This+is+fine%27+creator+wants+to+put+the+famous+dog+to+rest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At the End of Humanity, 'The Last of Us' Locates What Makes Us Human",
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"content": "\u003cp>\u003cem>The Walking Dead. Fear the Walking Dead. Y: The Last Man. The Passage. The Strain. The Stand. Sweet Tooth. Invasion. Station Zero. Resident Evil.\u003c/em>\u003c/p>\n\u003cp>Given the glut of post-apocalyptic fare that television has been serving up over just the past few years, you’d be forgiven for approaching HBO’s \u003cem>The Last of Us\u003c/em> with a skeptical mind. Some not-insignificant percentage of potential viewers, upon learning that the series is based on a video game, will adopt a kind of mental defensive crouch. (To be clear, these people have never played the excellent, heart-wrenching video game(s) in question.)\u003c/p>\n\u003cp>[aside postid='arts_13923488']\u003cem>What is there new to say?\u003c/em> is a valid question. \u003cem>Or, for that matter, to show?\u003c/em> There is a limit, after all, to the number of times one can watch grizzled, greasy-haired bands of armed survivors who look as if they smell like a particularly runny cheese tiptoeing through crumbling cityscapes overrun with lush vegetation before one concludes, “No, yeah, I got it, thanks.”\u003c/p>\n\u003cp>\u003cem>The Last of Us \u003c/em>contains several such sequences, and others that prove similarly familiar: Militarized outposts imposing martial law. Idyllic pockets of civilization that Hide a Dark Secret\u003csup>TM\u003c/sup>. Mistrust. Violence. The horror of realizing that a loved one has been infected, followed by the grim acknowledgement of what must be done about it.\u003c/p>\n\u003cp>But these are all genre trappings, the parameters that any post-apocalypse show and its viewers agree to establish, and work within. You don’t go into a science fiction series and roll your eyes at every spaceship, do you? Or sneer every time a forensic investigator busts out the luminol?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, what matters is what takes place within its genre conventions — the precise narrative fuel mixture that drives the show in question: Are the zombies/vampires/mutants/cannibals/militias the real stars of the series, or does it belong to the survivors?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs entirely, gratifyingly, to the survivors — two in particular. There’s laconic, hard-bitten (but not yet \u003cem>actually \u003c/em>bitten) Joel, played by Pedro Pascal, and young Ellie, played by Bella Ramsey — she may carry the future of humanity in her blood. They join up to trek across the country with tangentially related agendas — he to find his brother, she to find a lab where scientists may figure out a way to replicate her mysterious immunity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uLtkt8BonwM\u003c/p>\n\u003cp>Along the way, they encounter quasi-fascist government operatives (“FEDRA”), antigovernmental freedom-fighter/terrorists (“Fireflies”), raiders, revolutionaries and some friendly faces as well. The series is confident enough to give two such allies — a doomsday prepper played by Nick Offerman and a sly charmer played by Murray Bartlett — the screen time necessary for us to grow emotionally invested in their fates. That confidence proves well-earned, as Offerman and Bartlett turn in the season’s highlight episode.\u003c/p>\n\u003cp>Of course, there’s plenty of scenes where our hardy heroes fight or evade the various fungi-festooned monsters dutifully reproduced from the video games — runners, stalkers, shamblers and, most memorably, clickers (whose heads have turned into toadstools, and who echolocate their prey via some seriously unnerving sound design).\u003c/p>\n\u003cp>[aside postid='pop_104874']But \u003cem>The Last of Us\u003c/em> of is about those assorted mushroom-baddies in exactly the same way that \u003cem>The Sopranos\u003c/em> was about RICO charges. Which is to say — they’re a threat, yes, and they loom ever-present, but the show’s really about what the characters do despite them.\u003c/p>\n\u003cp>And what they do, on \u003cem>The Last of Us\u003c/em> at least, is grow deeper and more complex in meaningful ways. Pascal plays Joel in the early episodes as if he’s encased his heart in his beskar steel armor from \u003cem>The Mandalorian\u003c/em>, but as his connection to Ellie grows, he starts talking more — \u003cem>risking \u003c/em>more, emotionally, in every scene — and it lands on us with a satisfying heft.\u003c/p>\n\u003cp>Ramsey’s young Lady Mormont was a heartening surprise back on \u003cem>Game of Thrones\u003c/em>, but that character was written to do one thing — be a badass — and Ramsey did it well. Last year, in Lena Dunham’s \u003cem>Catherine Called Birdy\u003c/em>, she got to show us a good deal more. Even so, she’s an absolute revelation here, investing Ellie with a toughness that manages to carve out plenty of room for vulnerability, teenage silliness, the pangs of first love, grief, rage and steely resolution.\u003c/p>\n\u003cp>Some may balk at the series’ choice to spend so much time showing us two people learning to rely on each other, instead of throwing ceaseless hordes of CGI-enhanced fungal foes at them. But by allowing the monsters to serve chiefly as catalysts to the complex emotional reactions of its characters, \u003cem>The Last of Us\u003c/em> accomplishes what \u003cem>Station Eleven\u003c/em> did last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a hopeful show about the end of humanity — one that manages to find, and nurture, moments of grace amid the ruins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+end+of+humanity%2C+%27The+Last+of+Us%27+locates+what+makes+us+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Walking Dead. Fear the Walking Dead. Y: The Last Man. The Passage. The Strain. The Stand. Sweet Tooth. Invasion. Station Zero. Resident Evil.\u003c/em>\u003c/p>\n\u003cp>Given the glut of post-apocalyptic fare that television has been serving up over just the past few years, you’d be forgiven for approaching HBO’s \u003cem>The Last of Us\u003c/em> with a skeptical mind. Some not-insignificant percentage of potential viewers, upon learning that the series is based on a video game, will adopt a kind of mental defensive crouch. (To be clear, these people have never played the excellent, heart-wrenching video game(s) in question.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>What is there new to say?\u003c/em> is a valid question. \u003cem>Or, for that matter, to show?\u003c/em> There is a limit, after all, to the number of times one can watch grizzled, greasy-haired bands of armed survivors who look as if they smell like a particularly runny cheese tiptoeing through crumbling cityscapes overrun with lush vegetation before one concludes, “No, yeah, I got it, thanks.”\u003c/p>\n\u003cp>\u003cem>The Last of Us \u003c/em>contains several such sequences, and others that prove similarly familiar: Militarized outposts imposing martial law. Idyllic pockets of civilization that Hide a Dark Secret\u003csup>TM\u003c/sup>. Mistrust. Violence. The horror of realizing that a loved one has been infected, followed by the grim acknowledgement of what must be done about it.\u003c/p>\n\u003cp>But these are all genre trappings, the parameters that any post-apocalypse show and its viewers agree to establish, and work within. You don’t go into a science fiction series and roll your eyes at every spaceship, do you? Or sneer every time a forensic investigator busts out the luminol?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, what matters is what takes place within its genre conventions — the precise narrative fuel mixture that drives the show in question: Are the zombies/vampires/mutants/cannibals/militias the real stars of the series, or does it belong to the survivors?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs entirely, gratifyingly, to the survivors — two in particular. There’s laconic, hard-bitten (but not yet \u003cem>actually \u003c/em>bitten) Joel, played by Pedro Pascal, and young Ellie, played by Bella Ramsey — she may carry the future of humanity in her blood. They join up to trek across the country with tangentially related agendas — he to find his brother, she to find a lab where scientists may figure out a way to replicate her mysterious immunity.\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/uLtkt8BonwM'\n title='//www.youtube.com/embed/uLtkt8BonwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Along the way, they encounter quasi-fascist government operatives (“FEDRA”), antigovernmental freedom-fighter/terrorists (“Fireflies”), raiders, revolutionaries and some friendly faces as well. The series is confident enough to give two such allies — a doomsday prepper played by Nick Offerman and a sly charmer played by Murray Bartlett — the screen time necessary for us to grow emotionally invested in their fates. That confidence proves well-earned, as Offerman and Bartlett turn in the season’s highlight episode.\u003c/p>\n\u003cp>Of course, there’s plenty of scenes where our hardy heroes fight or evade the various fungi-festooned monsters dutifully reproduced from the video games — runners, stalkers, shamblers and, most memorably, clickers (whose heads have turned into toadstools, and who echolocate their prey via some seriously unnerving sound design).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>The Last of Us\u003c/em> of is about those assorted mushroom-baddies in exactly the same way that \u003cem>The Sopranos\u003c/em> was about RICO charges. Which is to say — they’re a threat, yes, and they loom ever-present, but the show’s really about what the characters do despite them.\u003c/p>\n\u003cp>And what they do, on \u003cem>The Last of Us\u003c/em> at least, is grow deeper and more complex in meaningful ways. Pascal plays Joel in the early episodes as if he’s encased his heart in his beskar steel armor from \u003cem>The Mandalorian\u003c/em>, but as his connection to Ellie grows, he starts talking more — \u003cem>risking \u003c/em>more, emotionally, in every scene — and it lands on us with a satisfying heft.\u003c/p>\n\u003cp>Ramsey’s young Lady Mormont was a heartening surprise back on \u003cem>Game of Thrones\u003c/em>, but that character was written to do one thing — be a badass — and Ramsey did it well. Last year, in Lena Dunham’s \u003cem>Catherine Called Birdy\u003c/em>, she got to show us a good deal more. Even so, she’s an absolute revelation here, investing Ellie with a toughness that manages to carve out plenty of room for vulnerability, teenage silliness, the pangs of first love, grief, rage and steely resolution.\u003c/p>\n\u003cp>Some may balk at the series’ choice to spend so much time showing us two people learning to rely on each other, instead of throwing ceaseless hordes of CGI-enhanced fungal foes at them. But by allowing the monsters to serve chiefly as catalysts to the complex emotional reactions of its characters, \u003cem>The Last of Us\u003c/em> accomplishes what \u003cem>Station Eleven\u003c/em> did last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a hopeful show about the end of humanity — one that manages to find, and nurture, moments of grace amid the ruins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+end+of+humanity%2C+%27The+Last+of+Us%27+locates+what+makes+us+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Spare’ by Prince Harry, One of Their Own, Could Fuel Royal Change",
"headTitle": "‘Spare’ by Prince Harry, One of Their Own, Could Fuel Royal Change | KQED",
"content": "\u003cp>In public, they present a united front — always. But Prince Harry has a very different story to tell about the British royals and the way they operate.\u003c/p>\n\u003cp>Harry’s explosive memoir, with its damning allegations of a toxic relationship between the monarchy and the press, could accelerate the pace of change already under way within the House of Windsor following the death of Queen Elizabeth II.\u003c/p>\n\u003cp>Harry’s description of royals leaking unflattering information about other members of the family in exchange for positive coverage of themselves is but one of the more tawdry allegations in his book, \u003cem>Spare\u003c/em>, published this week. The prince singled out King Charles III’s wife, Camilla, accusing her of feeding private conversations to the media as she sought to rehabilitate her image after her longtime affair with Charles when he was heir to the throne.\u003c/p>\n\u003cp>Far from the unity that is presented in public, the royal family and their staffs are depicted as scheming rivals, ready to stab each other in the back to make themselves or their bosses look better in the public eye. The palace that Harry describes resembles a modern version of the court of King Henry VIII, where courtiers jockeyed for the monarch’s favor and some lost their heads.\u003c/p>\n\u003cp>The book leaves the impression of a deeply dysfunctional British royal family whose members are so concerned about the tabloid press that they are forced to make deals with journalists, says Ed Owens, author of \u003cem>The Family Firm: Monarchy, Mass Media and the British Public, 1932-53\u003c/em>. And the public, when faced with this proposition, may think twice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think there needs to be some kind of reset, and we need to think carefully about what the monarchy is, what role it plays in society,” says Owens, a historian. “Because this idea of ‘we, the British taxpayers, pay and in return they perform’ — it’s really a broken and corrupting kind of equation.”\u003c/p>\n\u003cp>Largely funded by taxpayers, the monarchy plays a mostly ceremonial role in British society these days — masters of soft power. But supporters argue that the institution still serves a vital role, uniting the country behind shared history and traditions embodied in both the grandeur of royal ceremonies and the day-to-day work of royals as they open schools and hospitals and hand out honors to those who serve the nation.\u003c/p>\n\u003cp>News coverage of the royal family generally falls into one of two categories: carefully orchestrated public appearances or sometimes chaotic stories about the private lives of royals based on unidentified sources.\u003c/p>\n\u003cp>But change may be at hand.\u003c/p>\n\u003cp>The history of colonialism — so deeply intertwined with the crown — is being re-examined around the world. Protesters have torn down or defaced statues in British cities, and internationally respected universities such as Oxford and Cambridge are changing their course offerings. It all adds up to one thing: An institution that was once the symbol of the British Empire is facing scrutiny as never before.\u003c/p>\n\u003cp>[aside postID='arts_13919284,arts_13916622,arts_13866072,arts_13893693,arts_13872986' label='More on the royals']Charles, who became king after the death of Queen Elizabeth II in September, faces the challenge of modernizing Britain’s 1,000-year-old monarchy to guarantee its survival. He has already said he plans to reduce the number of working royals and reduce the cost of the monarchy. This has been a long time coming, perhaps, but was delayed by one key factor: Elizabeth herself.\u003c/p>\n\u003cp>Personal affection for the queen meant that the monarchy’s role in British society was rarely debated during her seven decades on the throne. Now that she’s gone, the royal family is confronting questions about its relevance in a modern, multicultural nation that looks very different than when Elizabeth ascended the throne in 1952.\u003c/p>\n\u003cp>In Elizabeth’s world — governed by the mantra “never complain, never explain” — the sort of personal revelations in Harry’s book would have been unthinkable. He describes his mental health struggles following the 1997 car accident that killed his mother, Princess Diana. He recounts a physical altercation with his older brother, Prince William, reveals how he lost his virginity and describes using cocaine and cannabis.\u003c/p>\n\u003cp>\u003cem>Spare\u003c/em> is the latest effort by Harry and his wife Meghan to tell their own story after they quit royal life and moved to California in 2020, citing what they saw as the media’s racist treatment of Meghan and a lack of support from the palace.\u003c/p>\n\u003cp>In the ghostwritten memoir, Harry, 38, alleges that Camilla forged connections with the British press and traded information on her way to becoming queen consort, essentially feeding unflattering stories on Harry and Meghan to the press in exchange for better coverage of herself.\u003c/p>\n\u003cp>The allegations are particularly sensitive because of Camilla’s role in the acrimonious breakdown of Charles’ marriage to Diana. While many members of the public initially shunned Camilla, she has won fans by taking on a wide range of charitable activities and has been credited with helping Charles appear less stuffy and more in tune with modern Britain.\u003c/p>\n\u003cp>\u003cem>Daily Mail\u003c/em> columnist Stephen Glover leapt to her defense, arguing that Harry was just thin-skinned.\u003c/p>\n\u003cp>“I daresay some members of the royal family have passed stories to the press through their courtiers over the years, but it is absurd and naïve to infer that this was part of an orchestrated attempt to destabilize Harry and Meghan,” he wrote. “Royals are not puppets of the press, since — if they have any sense — they realize they can be biffed as well as praised. The wise ones know how to take the rough with the smooth.’’\u003c/p>\n\u003cp>But unlike Elizabeth, who famously issued a statement suggesting that “some recollections may vary” when confronted with racism allegations after Meghan’s interview with Oprah Winfrey in 2021, Buckingham Palace has responded to the first major crisis of Charles’ reign with silence.\u003c/p>\n\u003cp>That has left Harry to dominate the headlines on both sides of the Atlantic, apparently being served tequila on a late night U.S. television show and repeatedly talking about the House of Windsor’s dirty laundry.\u003c/p>\n\u003cp>Since this isn’t the first scandal to rock Buckingham Palace —among other sensations, Elizabeth’s uncle abdicated the throne to marry a divorced American — many of those who bought Harry’s book on Tuesday seemed certain the institution would weather the storm.\u003c/p>\n\u003cp>“They just have to shrug it off and carry on being the royal family,” James Bradley, 61, said as he bought a copy. “After the queen’s death, the royal family’s stock has never been higher in my lifetime, and this will just bounce off. In six months’ time we won’t be talking about this.”\u003c/p>\n\u003cp>But Steven Barnett, a professor of communications at the University of Westminster, expects Harry’s revelations to push the palace to be more transparent— perhaps more like other institutions such the White House or the British prime minister’s office at 10 Downing Street.\u003c/p>\n\u003cp>“He’s done us a favor in exposing the collusive nature, the conspiratorial nature of relationships between the royal family and the British press,” Barnett says. “They will have to change the way in which they do business with the press. And that’s a good thing. It’s a good thing for the monarchy and it’s a good thing for British society.’’\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Danica Kirka, based in London for The Associated Press, covers the British royal family.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In public, they present a united front — always. But Prince Harry has a very different story to tell about the British royals and the way they operate.\u003c/p>\n\u003cp>Harry’s explosive memoir, with its damning allegations of a toxic relationship between the monarchy and the press, could accelerate the pace of change already under way within the House of Windsor following the death of Queen Elizabeth II.\u003c/p>\n\u003cp>Harry’s description of royals leaking unflattering information about other members of the family in exchange for positive coverage of themselves is but one of the more tawdry allegations in his book, \u003cem>Spare\u003c/em>, published this week. The prince singled out King Charles III’s wife, Camilla, accusing her of feeding private conversations to the media as she sought to rehabilitate her image after her longtime affair with Charles when he was heir to the throne.\u003c/p>\n\u003cp>Far from the unity that is presented in public, the royal family and their staffs are depicted as scheming rivals, ready to stab each other in the back to make themselves or their bosses look better in the public eye. The palace that Harry describes resembles a modern version of the court of King Henry VIII, where courtiers jockeyed for the monarch’s favor and some lost their heads.\u003c/p>\n\u003cp>The book leaves the impression of a deeply dysfunctional British royal family whose members are so concerned about the tabloid press that they are forced to make deals with journalists, says Ed Owens, author of \u003cem>The Family Firm: Monarchy, Mass Media and the British Public, 1932-53\u003c/em>. And the public, when faced with this proposition, may think twice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there needs to be some kind of reset, and we need to think carefully about what the monarchy is, what role it plays in society,” says Owens, a historian. “Because this idea of ‘we, the British taxpayers, pay and in return they perform’ — it’s really a broken and corrupting kind of equation.”\u003c/p>\n\u003cp>Largely funded by taxpayers, the monarchy plays a mostly ceremonial role in British society these days — masters of soft power. But supporters argue that the institution still serves a vital role, uniting the country behind shared history and traditions embodied in both the grandeur of royal ceremonies and the day-to-day work of royals as they open schools and hospitals and hand out honors to those who serve the nation.\u003c/p>\n\u003cp>News coverage of the royal family generally falls into one of two categories: carefully orchestrated public appearances or sometimes chaotic stories about the private lives of royals based on unidentified sources.\u003c/p>\n\u003cp>But change may be at hand.\u003c/p>\n\u003cp>The history of colonialism — so deeply intertwined with the crown — is being re-examined around the world. Protesters have torn down or defaced statues in British cities, and internationally respected universities such as Oxford and Cambridge are changing their course offerings. It all adds up to one thing: An institution that was once the symbol of the British Empire is facing scrutiny as never before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Charles, who became king after the death of Queen Elizabeth II in September, faces the challenge of modernizing Britain’s 1,000-year-old monarchy to guarantee its survival. He has already said he plans to reduce the number of working royals and reduce the cost of the monarchy. This has been a long time coming, perhaps, but was delayed by one key factor: Elizabeth herself.\u003c/p>\n\u003cp>Personal affection for the queen meant that the monarchy’s role in British society was rarely debated during her seven decades on the throne. Now that she’s gone, the royal family is confronting questions about its relevance in a modern, multicultural nation that looks very different than when Elizabeth ascended the throne in 1952.\u003c/p>\n\u003cp>In Elizabeth’s world — governed by the mantra “never complain, never explain” — the sort of personal revelations in Harry’s book would have been unthinkable. He describes his mental health struggles following the 1997 car accident that killed his mother, Princess Diana. He recounts a physical altercation with his older brother, Prince William, reveals how he lost his virginity and describes using cocaine and cannabis.\u003c/p>\n\u003cp>\u003cem>Spare\u003c/em> is the latest effort by Harry and his wife Meghan to tell their own story after they quit royal life and moved to California in 2020, citing what they saw as the media’s racist treatment of Meghan and a lack of support from the palace.\u003c/p>\n\u003cp>In the ghostwritten memoir, Harry, 38, alleges that Camilla forged connections with the British press and traded information on her way to becoming queen consort, essentially feeding unflattering stories on Harry and Meghan to the press in exchange for better coverage of herself.\u003c/p>\n\u003cp>The allegations are particularly sensitive because of Camilla’s role in the acrimonious breakdown of Charles’ marriage to Diana. While many members of the public initially shunned Camilla, she has won fans by taking on a wide range of charitable activities and has been credited with helping Charles appear less stuffy and more in tune with modern Britain.\u003c/p>\n\u003cp>\u003cem>Daily Mail\u003c/em> columnist Stephen Glover leapt to her defense, arguing that Harry was just thin-skinned.\u003c/p>\n\u003cp>“I daresay some members of the royal family have passed stories to the press through their courtiers over the years, but it is absurd and naïve to infer that this was part of an orchestrated attempt to destabilize Harry and Meghan,” he wrote. “Royals are not puppets of the press, since — if they have any sense — they realize they can be biffed as well as praised. The wise ones know how to take the rough with the smooth.’’\u003c/p>\n\u003cp>But unlike Elizabeth, who famously issued a statement suggesting that “some recollections may vary” when confronted with racism allegations after Meghan’s interview with Oprah Winfrey in 2021, Buckingham Palace has responded to the first major crisis of Charles’ reign with silence.\u003c/p>\n\u003cp>That has left Harry to dominate the headlines on both sides of the Atlantic, apparently being served tequila on a late night U.S. television show and repeatedly talking about the House of Windsor’s dirty laundry.\u003c/p>\n\u003cp>Since this isn’t the first scandal to rock Buckingham Palace —among other sensations, Elizabeth’s uncle abdicated the throne to marry a divorced American — many of those who bought Harry’s book on Tuesday seemed certain the institution would weather the storm.\u003c/p>\n\u003cp>“They just have to shrug it off and carry on being the royal family,” James Bradley, 61, said as he bought a copy. “After the queen’s death, the royal family’s stock has never been higher in my lifetime, and this will just bounce off. In six months’ time we won’t be talking about this.”\u003c/p>\n\u003cp>But Steven Barnett, a professor of communications at the University of Westminster, expects Harry’s revelations to push the palace to be more transparent— perhaps more like other institutions such the White House or the British prime minister’s office at 10 Downing Street.\u003c/p>\n\u003cp>“He’s done us a favor in exposing the collusive nature, the conspiratorial nature of relationships between the royal family and the British press,” Barnett says. “They will have to change the way in which they do business with the press. And that’s a good thing. It’s a good thing for the monarchy and it’s a good thing for British society.’’\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go | KQED",
"content": "\u003cp>Ke Huy Quan gave the 80th annual Golden Globe awards the redemption moment it so desperately needed.\u003c/p>\n\u003cp>Accepting the very first award of the night, as best supporting actor in a film for his standout work on the action/fantasy/comedy \u003cem>Everything Everywhere All at Once\u003c/em>, Quan recalled how he thought for years his acting career might never match his early work in movies like\u003cem> The Goonies\u003c/em> and \u003cem>Indiana Jones and the Temple of Doom\u003c/em>.\u003c/p>\n\u003cp>“For so many years, I was afraid I had nothing more to offer, that no matter what I did, I would never surpass what I achieved as a kid,” Quan said tearfully, moments after thanking director Steven Spielberg for casting him in\u003cem> Indiana Jones\u003c/em>. “Thankfully, more than 30 years later, two guys thought of me. They remembered that kid. And they gave me an opportunity to try again.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WIFvInRA2xQ\u003c/p>\n\u003cp>Ever since the Globes announced plans to return to NBC after a prolonged scandal over a lack of diversity among members and allegations of corruption, cynics wondered: Why should anyone care about this awards show again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quan’s tearful acceptance speech — a moving moment from an actor of color who is making a triumphant return to the craft when his career seemed to be over — provided a perfect answer.\u003c/p>\n\u003cp>If only these Globes could have come up with a few more moments like that.\u003c/p>\n\u003cp>[aside postid='arts_13923511']Instead, Tuesday’s Globes were an odd hodgepodge of expected awards (Cate Blanchette as best actress in a film drama for\u003cem> Tar\u003c/em>; Steven Spielberg as best director of a film drama for \u003cem>The Fablemans\u003c/em>), awards that didn’t make much sense (the \u003cem>Game of Thrones\u003c/em> spinoff\u003cem> House of the Dragon\u003c/em> as best TV drama over \u003cem>Better Call Saul\u003c/em> and \u003cem>Severance\u003c/em>?), and awards that were cool, but still kind of head-scratchers (\u003cem>Abbott Elementary’\u003c/em>s Tyler James Williams as best supporting actor on a TV show over \u003cem>Severance’\u003c/em>s John Turturro or \u003cem>Barry’\u003c/em>s Henry Winkler?)\u003c/p>\n\u003cp>In the end, the Globes had to make three arguments Tuesday: that it has survived its past scandals to become a better organization; that it still matters as an important benchmark in an awards season topped by The Oscars. And that it’s still Hollywood’s coolest party — the tipsy, uninhibited yin to the stuffy, traditional yang of The Oscars.\u003c/p>\n\u003cp>This year’s program showed they’ve still got a lot of work to do on every front. Here are a few reasons why:\u003c/p>\n\u003ch3>When you pick a host for a show that bills itself as Hollywood’s “party of the year,” maybe hire someone who actually wants to party?\u003c/h3>\n\u003cp>I get why Jerrod Carmichael started the Globes by telling everyone to be quiet while he walked them through a sardonic story on how he decided to take the host’s job. He even dropped a few great lines like: “One minute, you’re making mint tea at home, the next, you’re invited to be the Black face of an embattled white organization.”\u003c/p>\n\u003cp>But ultimately, that was a bummer of a way to start an awards show whose original claim to fame was that it was a wild, fun party. And Carmichael never really found his groove after that awkward, biting, sometimes funny-sometimes-not monologue — telling the audience to be quiet so much, he sounded more like a hall monitor than somebody trying to encourage everyone to have a good time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9OwwVAaWFU&t=11s\u003c/p>\n\u003cp>Worse, some of Carmichael’s attempts at edgy humor weren’t quite funny enough to get past the edge to be entertaining. Like his joke about taking the three Golden Globes Tom Cruise returned — he gave them back in protest during the Globes’ scandals — and trading them for the wife of the Church of Scientology’s leader (critics of the church, of which Cruise is a longtime member, \u003ca href=\"https://deadline.com/2023/01/jerrod-carmichael-shelly-miscavige-scientology-tom-cruise-golden-globes-1235217193/\">have alleged she has been missing for years\u003c/a>.) Though I did love the moment when Carmichael told Spielberg he watched \u003cem>The Fablemans\u003c/em> with Kanye West and the movie was so good it changed Ye’s mind about his anti-Semitism.\u003c/p>\n\u003cp>In an odd way Carmichael’s uneven performance summed up the confused spirit of the show — which couldn’t quite decide if it was going to party on in hopes people forgot its past scandals or offer up a show so smart and incisive all would see they had transcended them.\u003c/p>\n\u003ch3>Diversity among some winners brought powerful moments, but …\u003c/h3>\n\u003cp>The Globes tried mightily to showcase diversity. The first three winners of the night were non-white performers: Quan, Williams and Angela Bassett as supporting actress for \u003cem>Black Panther: Wakanda Forever.\u003c/em>\u003c/p>\n\u003cp>Quan’s \u003cem>Everything Everywhere\u003c/em> co-star Michelle Yeoh finally got her flowers for a 40-year career navigating Hollywood’s often-terrible treatment of Asian performers and women of a certain age. “When I first came to Hollywood, it was a dream come true … until I (got) here,” she quipped, jokingly threatening to beat up producers if they tried to play her off with music before her speech was done. “Someone said to me: ‘You speak English?” … I said, ‘Yeah, the flight here was about 13 hours long, so I learned.’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dHpDqn0nlK8\u003c/p>\n\u003cp>Producer/director Ryan Murphy, accepting the Carol Burnett award for TV achievement, used his acceptance speech to highlight LGBTQ performers he had worked with who had been pressured to hide their identities, like \u003cem>Pose\u003c/em> stars Michaela Jaé Rodriguez, Jeremy Pope and Billy Porter. “My mission was to take the invisible, the unloved, and make them the heroes I long to see but never did in pop culture,” he added.\u003c/p>\n\u003cp>Still, even with all these wonderful moments, there were too many great performances and projects by people of color left out — from movies like\u003cem> Till \u003c/em>and \u003cem>Nope\u003c/em> to TV shows like \u003cem>Reservation Dogs, Atlanta\u003c/em> and \u003cem>Pachinko\u003c/em>. Which left a feeling that the Globes have only just begun to make up for their past missed opportunities.\u003c/p>\n\u003ch3>Playing winners off with music during emotional acceptance speeches kills one of the biggest elements of the show.\u003c/h3>\n\u003cp>This is a mistake too many awards show producers make, including those at the Globes. Early in the night, Carmichael and a few presenters seemed to take their time, eating up precious minutes and throwing the show off schedule. This forces producers to curb the amount of time winners have for their speeches so they can end the show on time for the broadcast network — even during showcase moments like Yeoh’s long-awaited win, Spielberg’s acceptance of the best film drama award for \u003cem>The Fablemans \u003c/em>or Quinta Brunson’s win as best TV comedy for the show she created, \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>They even played off filmmakers trying to talk about the struggle for democracy in Argentina (\u003cem>Argentina, 85\u003c/em>).\u003c/p>\n\u003cp>Worse, the show had a pianist onscreen who was getting blamed for playing people off, but the music was pre-recorded and coming from the producers, as the pianist herself explained on Twitter.\u003c/p>\n\u003cp>https://twitter.com/ChloeFlower/status/1613006017595609089\u003c/p>\n\u003cp>Bottom line: emotional, eloquent acceptance speeches are what viewers love and what critics like me talk about the next day. Setting up a situation where you’re rushing big winners through their moment helps no one — especially the onscreen pianist unfairly blamed for the music.\u003c/p>\n\u003ch3>Making fun of weather emergencies is rarely wise\u003c/h3>\n\u003cp>Because some celebrities chose not to attend the Globes on principle — like nominee Brendan Fraser (\u003cem>The Whale\u003c/em>) — the show went out of its way to tell the audience when a celebrity wasn’t present because they were working or otherwise indisposed.\u003c/p>\n\u003cp>These announcements could lead to some suspicion and snark, including when Regina Hall made fun of the idea that inclement weather trapped \u003cem>Yellowstone\u003c/em> star Kevin Costner in Santa Barbara and kept him from accepting his award as best actor in a TV drama.\u003c/p>\n\u003cp>But Costner had released his own video on social media explaining that heavy rain had washed out the roads in his area and he truly had intended to attend the ceremony — which highlights the dangers of snarking before you know all the facts (and yes, I snarked too, until I saw Costner’s video).\u003c/p>\n\u003cp>https://twitter.com/modernwest/status/1612971766116225026\u003c/p>\n\u003ch3>Even when his acceptance speech is just a few minutes long, Eddie Murphy knows how to bring down the house.\u003c/h3>\n\u003cp>To be honest, I was hoping Murphy would speak longer during his acceptance speech for the Cecil B. DeMille award — a lifetime achievement honor for one of the most influential comics in film or TV. But he offered a short, serious speech where he thanked family, friends and colleagues, before ending with three things he said were the key to success and happiness in Hollywood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agwQGhsS1qw\u003c/p>\n\u003cp>“Pay your taxes. Mind your business. And keep Will Smith’s wife’s name out your mother f—ing mouth!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now that’s the kind of in-your-face, irreverent funny bit that the Golden Globes could have used a lot more of.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Golden+Globes+had+a+lot+to+prove+%E2%80%94+and+still+have+a+long+way+to+go&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ke Huy Quan gave the 80th annual Golden Globe awards the redemption moment it so desperately needed.\u003c/p>\n\u003cp>Accepting the very first award of the night, as best supporting actor in a film for his standout work on the action/fantasy/comedy \u003cem>Everything Everywhere All at Once\u003c/em>, Quan recalled how he thought for years his acting career might never match his early work in movies like\u003cem> The Goonies\u003c/em> and \u003cem>Indiana Jones and the Temple of Doom\u003c/em>.\u003c/p>\n\u003cp>“For so many years, I was afraid I had nothing more to offer, that no matter what I did, I would never surpass what I achieved as a kid,” Quan said tearfully, moments after thanking director Steven Spielberg for casting him in\u003cem> Indiana Jones\u003c/em>. “Thankfully, more than 30 years later, two guys thought of me. They remembered that kid. And they gave me an opportunity to try 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/WIFvInRA2xQ'\n title='//www.youtube.com/embed/WIFvInRA2xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ever since the Globes announced plans to return to NBC after a prolonged scandal over a lack of diversity among members and allegations of corruption, cynics wondered: Why should anyone care about this awards show again?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Quan’s tearful acceptance speech — a moving moment from an actor of color who is making a triumphant return to the craft when his career seemed to be over — provided a perfect answer.\u003c/p>\n\u003cp>If only these Globes could have come up with a few more moments like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, Tuesday’s Globes were an odd hodgepodge of expected awards (Cate Blanchette as best actress in a film drama for\u003cem> Tar\u003c/em>; Steven Spielberg as best director of a film drama for \u003cem>The Fablemans\u003c/em>), awards that didn’t make much sense (the \u003cem>Game of Thrones\u003c/em> spinoff\u003cem> House of the Dragon\u003c/em> as best TV drama over \u003cem>Better Call Saul\u003c/em> and \u003cem>Severance\u003c/em>?), and awards that were cool, but still kind of head-scratchers (\u003cem>Abbott Elementary’\u003c/em>s Tyler James Williams as best supporting actor on a TV show over \u003cem>Severance’\u003c/em>s John Turturro or \u003cem>Barry’\u003c/em>s Henry Winkler?)\u003c/p>\n\u003cp>In the end, the Globes had to make three arguments Tuesday: that it has survived its past scandals to become a better organization; that it still matters as an important benchmark in an awards season topped by The Oscars. And that it’s still Hollywood’s coolest party — the tipsy, uninhibited yin to the stuffy, traditional yang of The Oscars.\u003c/p>\n\u003cp>This year’s program showed they’ve still got a lot of work to do on every front. Here are a few reasons why:\u003c/p>\n\u003ch3>When you pick a host for a show that bills itself as Hollywood’s “party of the year,” maybe hire someone who actually wants to party?\u003c/h3>\n\u003cp>I get why Jerrod Carmichael started the Globes by telling everyone to be quiet while he walked them through a sardonic story on how he decided to take the host’s job. He even dropped a few great lines like: “One minute, you’re making mint tea at home, the next, you’re invited to be the Black face of an embattled white organization.”\u003c/p>\n\u003cp>But ultimately, that was a bummer of a way to start an awards show whose original claim to fame was that it was a wild, fun party. And Carmichael never really found his groove after that awkward, biting, sometimes funny-sometimes-not monologue — telling the audience to be quiet so much, he sounded more like a hall monitor than somebody trying to encourage everyone to have a good time.\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/P9OwwVAaWFU'\n title='//www.youtube.com/embed/P9OwwVAaWFU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Worse, some of Carmichael’s attempts at edgy humor weren’t quite funny enough to get past the edge to be entertaining. Like his joke about taking the three Golden Globes Tom Cruise returned — he gave them back in protest during the Globes’ scandals — and trading them for the wife of the Church of Scientology’s leader (critics of the church, of which Cruise is a longtime member, \u003ca href=\"https://deadline.com/2023/01/jerrod-carmichael-shelly-miscavige-scientology-tom-cruise-golden-globes-1235217193/\">have alleged she has been missing for years\u003c/a>.) Though I did love the moment when Carmichael told Spielberg he watched \u003cem>The Fablemans\u003c/em> with Kanye West and the movie was so good it changed Ye’s mind about his anti-Semitism.\u003c/p>\n\u003cp>In an odd way Carmichael’s uneven performance summed up the confused spirit of the show — which couldn’t quite decide if it was going to party on in hopes people forgot its past scandals or offer up a show so smart and incisive all would see they had transcended them.\u003c/p>\n\u003ch3>Diversity among some winners brought powerful moments, but …\u003c/h3>\n\u003cp>The Globes tried mightily to showcase diversity. The first three winners of the night were non-white performers: Quan, Williams and Angela Bassett as supporting actress for \u003cem>Black Panther: Wakanda Forever.\u003c/em>\u003c/p>\n\u003cp>Quan’s \u003cem>Everything Everywhere\u003c/em> co-star Michelle Yeoh finally got her flowers for a 40-year career navigating Hollywood’s often-terrible treatment of Asian performers and women of a certain age. “When I first came to Hollywood, it was a dream come true … until I (got) here,” she quipped, jokingly threatening to beat up producers if they tried to play her off with music before her speech was done. “Someone said to me: ‘You speak English?” … I said, ‘Yeah, the flight here was about 13 hours long, so I learned.’”\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/dHpDqn0nlK8'\n title='//www.youtube.com/embed/dHpDqn0nlK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Producer/director Ryan Murphy, accepting the Carol Burnett award for TV achievement, used his acceptance speech to highlight LGBTQ performers he had worked with who had been pressured to hide their identities, like \u003cem>Pose\u003c/em> stars Michaela Jaé Rodriguez, Jeremy Pope and Billy Porter. “My mission was to take the invisible, the unloved, and make them the heroes I long to see but never did in pop culture,” he added.\u003c/p>\n\u003cp>Still, even with all these wonderful moments, there were too many great performances and projects by people of color left out — from movies like\u003cem> Till \u003c/em>and \u003cem>Nope\u003c/em> to TV shows like \u003cem>Reservation Dogs, Atlanta\u003c/em> and \u003cem>Pachinko\u003c/em>. Which left a feeling that the Globes have only just begun to make up for their past missed opportunities.\u003c/p>\n\u003ch3>Playing winners off with music during emotional acceptance speeches kills one of the biggest elements of the show.\u003c/h3>\n\u003cp>This is a mistake too many awards show producers make, including those at the Globes. Early in the night, Carmichael and a few presenters seemed to take their time, eating up precious minutes and throwing the show off schedule. This forces producers to curb the amount of time winners have for their speeches so they can end the show on time for the broadcast network — even during showcase moments like Yeoh’s long-awaited win, Spielberg’s acceptance of the best film drama award for \u003cem>The Fablemans \u003c/em>or Quinta Brunson’s win as best TV comedy for the show she created, \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>They even played off filmmakers trying to talk about the struggle for democracy in Argentina (\u003cem>Argentina, 85\u003c/em>).\u003c/p>\n\u003cp>Worse, the show had a pianist onscreen who was getting blamed for playing people off, but the music was pre-recorded and coming from the producers, as the pianist herself explained on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Bottom line: emotional, eloquent acceptance speeches are what viewers love and what critics like me talk about the next day. Setting up a situation where you’re rushing big winners through their moment helps no one — especially the onscreen pianist unfairly blamed for the music.\u003c/p>\n\u003ch3>Making fun of weather emergencies is rarely wise\u003c/h3>\n\u003cp>Because some celebrities chose not to attend the Globes on principle — like nominee Brendan Fraser (\u003cem>The Whale\u003c/em>) — the show went out of its way to tell the audience when a celebrity wasn’t present because they were working or otherwise indisposed.\u003c/p>\n\u003cp>These announcements could lead to some suspicion and snark, including when Regina Hall made fun of the idea that inclement weather trapped \u003cem>Yellowstone\u003c/em> star Kevin Costner in Santa Barbara and kept him from accepting his award as best actor in a TV drama.\u003c/p>\n\u003cp>But Costner had released his own video on social media explaining that heavy rain had washed out the roads in his area and he truly had intended to attend the ceremony — which highlights the dangers of snarking before you know all the facts (and yes, I snarked too, until I saw Costner’s video).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Even when his acceptance speech is just a few minutes long, Eddie Murphy knows how to bring down the house.\u003c/h3>\n\u003cp>To be honest, I was hoping Murphy would speak longer during his acceptance speech for the Cecil B. DeMille award — a lifetime achievement honor for one of the most influential comics in film or TV. But he offered a short, serious speech where he thanked family, friends and colleagues, before ending with three things he said were the key to success and happiness in Hollywood.\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/agwQGhsS1qw'\n title='//www.youtube.com/embed/agwQGhsS1qw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Pay your taxes. Mind your business. And keep Will Smith’s wife’s name out your mother f—ing mouth!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that’s the kind of in-your-face, irreverent funny bit that the Golden Globes could have used a lot more of.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Golden+Globes+had+a+lot+to+prove+%E2%80%94+and+still+have+a+long+way+to+go&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tarnished Golden Globes Attempt a Comeback, After Years of Controversy",
"headTitle": "Tarnished Golden Globes Attempt a Comeback, After Years of Controversy | KQED",
"content": "\u003cp>The Golden Globes are attempting a comeback on television Tuesday evening, after two scandal-ridden years for the organization that hosts the annual ceremony honoring film and TV. The 80-year-old Hollywood Foreign Press Association plans to hand out its awards with \u003ca href=\"https://www.youtube.com/watch?v=HN2aQ3ZE5Fw\">a lavish Hollywood party emceed by comedian Jerrod Carmichael\u003c/a>. The who’s who of this year’s presenters include Best Actress nominee Ana de Armas, Best Supporting Actress nominee Jamie Lee Curtis and filmmaker Quentin Tarantino.\u003c/p>\n\u003cp>[aside postid='arts_13923388']NBC/Peacock will again broadcast the ceremony, \u003ca href=\"https://www.npr.org/2022/01/09/1071706568/the-golden-globes-go-on-but-wont-be-televised\">having ditched it last year\u003c/a>. \u003ca href=\"https://www.npr.org/2021/12/13/1063594038/many-remain-wary-of-the-group-behind-the-golden-globe-awards\">Many studios, networks, stars and publicists boycotted the 2022 ceremony\u003c/a>; There were no celebrity presenters and no red carpet. That was in response to controversy over the HFPA’s questionable practices and lack of diversity.\u003c/p>\n\u003cp>The group was criticized for conflicts of interest and bribery; it was called out for having very few Black members and for holding problematic press conferences by members, who are supposed to be journalists for international media.\u003c/p>\n\u003cp>HFPA president \u003ca href=\"https://www.goldenglobes.com/hfpa-member/helen-hoehne\">Helen Hoehne \u003c/a>says since then, the group has been overhauled, adding stricter standards of who can be a member and a new code of conduct.\u003c/p>\n\u003cp>“We adopted a new set of policies, eliminated a lot of the conflicts that we had,” she tells NPR. “We implemented a new grievance procedure with \u003ca href=\"https://www.goldenglobes.com/hfpa-complaint-hotline\">a confidential reporting hotline\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The HFPA added 21 journalists based in the U.S., including six Black Americans, and \u003ca href=\"https://www.goldenglobes.com/articles/hfpa-r-adds-103-new-voters-golden-glober-awards\">103 new members representing 62 countries\u003c/a>. Two hundred members now making up the voting body — 52% are female, 19.5% self-identify as Latinx, 12% as Asian, 10% as Black and 10% as Middle Eastern.\u003c/p>\n\u003cp>[aside postid='arts_13923009']“We are working to correct past wrongs, past transgressions, but we are really feeling like we’re in a position to take pride in some of that work. But most importantly, we aren’t done,” says\u003ca href=\"https://www.goldenglobes.com/hfpa-member/neil-phillips\"> Neil Phillips, \u003c/a>the HFPA’s Chief Diversity Officer. “The organization was called out, was exposed, justifiably so. They were in crisis, and we’ll continue to work on changing that just to try to be a better organization.”\u003c/p>\n\u003cp>Phillips says the HFPA is now collaborating with 16 advocacy groups, including the NAACP, in what they call a “Reimagined Coalition,” to support and fund efforts toward diversity, equity, inclusion and access in the entertainment industry.\u003c/p>\n\u003cp>“It really took a crisis in order to allow this organization to evolve,” says CEO \u003ca href=\"https://www.goldenglobes.com/hfpa-member/todd-l-boehly\">Todd Boehly\u003c/a>. He says the HFPA is rebranding itself.\u003c/p>\n\u003cp>“It’s evolving into two organizations, one which will be for profit and one which will be the charitable arm, both which will be branded the Golden Globes,” he told NPR.\u003c/p>\n\u003cp>Boehly says the for-profit Golden Globes organization will be more professional, paying journalists to create online content and podcasts (offering them salaries of $75,000 a year). He says they’ll no longer hold exclusive press conferences for its members.\u003c/p>\n\u003cp>“The press conferences were one of the things that Hollywood felt weren’t the safest environments,” Boehly says, admitting that some questions asked during those events were “seen as not thoughtful.”\u003c/p>\n\u003cp>[aside postid='arts_13922631']Behind the scenes, some publicists, actors and filmmakers remain skeptical that the HPFA has truly reformed. They point out, for instance, that \u003ca href=\"https://www.goldenglobes.com/winners-nominees/best-director-motion-picture\">this year’s Best Director category\u003c/a> once again has no female nominees. But some are cautiously hopeful.\u003c/p>\n\u003cp>“They still have a long way to go there, but they have made significant strides,” says Kelly Bush Novak, the CEO and founder of ID, one of the entertainment industry’s top publicity and marketing firms. “I’m optimistic about the road ahead, that the issues we faced historically are going to remain squarely in the rearview mirror.”\u003c/p>\n\u003cp>Two years ago, Novak helped lead 100 publicity firms in \u003ca href=\"https://legacy.npr.org/assets/artslife/arts/2023/HFPAletter.pdf\">signing a letter asking the HFPA to reform\u003c/a>.\u003c/p>\n\u003cp>“It was really problematic. We had clients experience homophobia during press conferences, blatantly racist remarks during press conferences, certainly a lot of sexist remarks,” she says. “It’s important to acknowledge the past and never forget the damage that was done because it was significant. But I really do encourage everyone to concentrate on the promise that they’ve made to continue to reform.”\u003c/p>\n\u003cp>Still, for many, the question remains: Are the Golden Globes forever tarnished?\u003c/p>\n\u003cp>“I am both surprised and not surprised by how quickly Hollywood seems to have forgiven the organization,” \u003ca href=\"https://www.thedailybeast.com/obsessed/the-2023-golden-globe-nominations-are-too-boring-to-care-about?ref=scroll\">says Kevin Fallon, \u003c/a>editor of The Daily Beast’s \u003cem>\u003ca href=\"https://www.thedailybeast.com/franchise/the-daily-beasts-obsessed\">Obsessed\u003c/a>\u003c/em> and co-president of the TV branch of the \u003ca href=\"https://www.criticschoice.com/\">Critics Choice Association\u003c/a>.\u003c/p>\n\u003cp>“At one point, I wondered if they ever had a show again, if no one in Hollywood would show up because they want to stand up for all the things that they had preached about when the controversy first started and wanted to make a statement by not going,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13922764']Last year, amidst the scandal, Tom Cruise famously returned his Golden Globe trophies in protest. This year, his movie \u003cem>Top Gun: Maverick \u003c/em>is \u003ca href=\"https://www.goldenglobes.com/film/top-gun-maverick\">up for Best Picture.\u003c/a> Brendan Fraser, who is \u003ca href=\"https://www.goldenglobes.com/person/brendan-fraser\">nominated as Best Actor\u003c/a> for his role in the film \u003cem>Whale\u003c/em> publicly announced he will not be attending the ceremony; he alleges he was once groped by the HFPA’s former eight-term president Philip Berk — an allegation Berk has disputed.\u003c/p>\n\u003cp>Fallon says it will be interesting to see who else does or doesn’t show up for what’s traditionally been Hollywood’s loosest, booziest awards celebration.\u003c/p>\n\u003cp>Already, there are reports that Steven Spielberg, Tony Kushner and Michelle Williams will be there, representing their film \u003cem>The Fabelmans\u003c/em> (with\u003ca href=\"https://www.goldenglobes.com/film/fabelmans\"> five nominations\u003c/a>). Best Actor nominee \u003ca href=\"https://www.goldenglobes.com/person/austin-butler\">Austin Butler,\u003c/a> who stars in \u003cem>Elvis\u003c/em> reportedly plans to be in the building. Fans will be watching the red carpet for nominated guests such as \u003ca href=\"https://www.goldenglobes.com/person/sheryl-lee-ralph\">Sheryl Lee Ralph \u003c/a>from \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.goldenglobes.com/person/julia-garner\">Julia Garner\u003c/a> from \u003cem>Inventing Anna\u003c/em> and \u003cem>Ozark\u003c/em>, and \u003ca href=\"https://www.goldenglobes.com/person/jenna-ortega\">Jenna Ortega\u003c/a> from \u003cem>Wednesday\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There may bit a little bit of sheepishness in accepting a trophy,” says Fallon. “But of course, it’s Hollywood and they can’t resist going to an awards show. So maybe I shouldn’t be surprised.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarnished+Golden+Globes+attempt+a+comeback%2C+after+years+of+controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Golden Globes are attempting a comeback on television Tuesday evening, after two scandal-ridden years for the organization that hosts the annual ceremony honoring film and TV. The 80-year-old Hollywood Foreign Press Association plans to hand out its awards with \u003ca href=\"https://www.youtube.com/watch?v=HN2aQ3ZE5Fw\">a lavish Hollywood party emceed by comedian Jerrod Carmichael\u003c/a>. The who’s who of this year’s presenters include Best Actress nominee Ana de Armas, Best Supporting Actress nominee Jamie Lee Curtis and filmmaker Quentin Tarantino.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>NBC/Peacock will again broadcast the ceremony, \u003ca href=\"https://www.npr.org/2022/01/09/1071706568/the-golden-globes-go-on-but-wont-be-televised\">having ditched it last year\u003c/a>. \u003ca href=\"https://www.npr.org/2021/12/13/1063594038/many-remain-wary-of-the-group-behind-the-golden-globe-awards\">Many studios, networks, stars and publicists boycotted the 2022 ceremony\u003c/a>; There were no celebrity presenters and no red carpet. That was in response to controversy over the HFPA’s questionable practices and lack of diversity.\u003c/p>\n\u003cp>The group was criticized for conflicts of interest and bribery; it was called out for having very few Black members and for holding problematic press conferences by members, who are supposed to be journalists for international media.\u003c/p>\n\u003cp>HFPA president \u003ca href=\"https://www.goldenglobes.com/hfpa-member/helen-hoehne\">Helen Hoehne \u003c/a>says since then, the group has been overhauled, adding stricter standards of who can be a member and a new code of conduct.\u003c/p>\n\u003cp>“We adopted a new set of policies, eliminated a lot of the conflicts that we had,” she tells NPR. “We implemented a new grievance procedure with \u003ca href=\"https://www.goldenglobes.com/hfpa-complaint-hotline\">a confidential reporting hotline\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The HFPA added 21 journalists based in the U.S., including six Black Americans, and \u003ca href=\"https://www.goldenglobes.com/articles/hfpa-r-adds-103-new-voters-golden-glober-awards\">103 new members representing 62 countries\u003c/a>. Two hundred members now making up the voting body — 52% are female, 19.5% self-identify as Latinx, 12% as Asian, 10% as Black and 10% as Middle Eastern.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We are working to correct past wrongs, past transgressions, but we are really feeling like we’re in a position to take pride in some of that work. But most importantly, we aren’t done,” says\u003ca href=\"https://www.goldenglobes.com/hfpa-member/neil-phillips\"> Neil Phillips, \u003c/a>the HFPA’s Chief Diversity Officer. “The organization was called out, was exposed, justifiably so. They were in crisis, and we’ll continue to work on changing that just to try to be a better organization.”\u003c/p>\n\u003cp>Phillips says the HFPA is now collaborating with 16 advocacy groups, including the NAACP, in what they call a “Reimagined Coalition,” to support and fund efforts toward diversity, equity, inclusion and access in the entertainment industry.\u003c/p>\n\u003cp>“It really took a crisis in order to allow this organization to evolve,” says CEO \u003ca href=\"https://www.goldenglobes.com/hfpa-member/todd-l-boehly\">Todd Boehly\u003c/a>. He says the HFPA is rebranding itself.\u003c/p>\n\u003cp>“It’s evolving into two organizations, one which will be for profit and one which will be the charitable arm, both which will be branded the Golden Globes,” he told NPR.\u003c/p>\n\u003cp>Boehly says the for-profit Golden Globes organization will be more professional, paying journalists to create online content and podcasts (offering them salaries of $75,000 a year). He says they’ll no longer hold exclusive press conferences for its members.\u003c/p>\n\u003cp>“The press conferences were one of the things that Hollywood felt weren’t the safest environments,” Boehly says, admitting that some questions asked during those events were “seen as not thoughtful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Behind the scenes, some publicists, actors and filmmakers remain skeptical that the HPFA has truly reformed. They point out, for instance, that \u003ca href=\"https://www.goldenglobes.com/winners-nominees/best-director-motion-picture\">this year’s Best Director category\u003c/a> once again has no female nominees. But some are cautiously hopeful.\u003c/p>\n\u003cp>“They still have a long way to go there, but they have made significant strides,” says Kelly Bush Novak, the CEO and founder of ID, one of the entertainment industry’s top publicity and marketing firms. “I’m optimistic about the road ahead, that the issues we faced historically are going to remain squarely in the rearview mirror.”\u003c/p>\n\u003cp>Two years ago, Novak helped lead 100 publicity firms in \u003ca href=\"https://legacy.npr.org/assets/artslife/arts/2023/HFPAletter.pdf\">signing a letter asking the HFPA to reform\u003c/a>.\u003c/p>\n\u003cp>“It was really problematic. We had clients experience homophobia during press conferences, blatantly racist remarks during press conferences, certainly a lot of sexist remarks,” she says. “It’s important to acknowledge the past and never forget the damage that was done because it was significant. But I really do encourage everyone to concentrate on the promise that they’ve made to continue to reform.”\u003c/p>\n\u003cp>Still, for many, the question remains: Are the Golden Globes forever tarnished?\u003c/p>\n\u003cp>“I am both surprised and not surprised by how quickly Hollywood seems to have forgiven the organization,” \u003ca href=\"https://www.thedailybeast.com/obsessed/the-2023-golden-globe-nominations-are-too-boring-to-care-about?ref=scroll\">says Kevin Fallon, \u003c/a>editor of The Daily Beast’s \u003cem>\u003ca href=\"https://www.thedailybeast.com/franchise/the-daily-beasts-obsessed\">Obsessed\u003c/a>\u003c/em> and co-president of the TV branch of the \u003ca href=\"https://www.criticschoice.com/\">Critics Choice Association\u003c/a>.\u003c/p>\n\u003cp>“At one point, I wondered if they ever had a show again, if no one in Hollywood would show up because they want to stand up for all the things that they had preached about when the controversy first started and wanted to make a statement by not going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, amidst the scandal, Tom Cruise famously returned his Golden Globe trophies in protest. This year, his movie \u003cem>Top Gun: Maverick \u003c/em>is \u003ca href=\"https://www.goldenglobes.com/film/top-gun-maverick\">up for Best Picture.\u003c/a> Brendan Fraser, who is \u003ca href=\"https://www.goldenglobes.com/person/brendan-fraser\">nominated as Best Actor\u003c/a> for his role in the film \u003cem>Whale\u003c/em> publicly announced he will not be attending the ceremony; he alleges he was once groped by the HFPA’s former eight-term president Philip Berk — an allegation Berk has disputed.\u003c/p>\n\u003cp>Fallon says it will be interesting to see who else does or doesn’t show up for what’s traditionally been Hollywood’s loosest, booziest awards celebration.\u003c/p>\n\u003cp>Already, there are reports that Steven Spielberg, Tony Kushner and Michelle Williams will be there, representing their film \u003cem>The Fabelmans\u003c/em> (with\u003ca href=\"https://www.goldenglobes.com/film/fabelmans\"> five nominations\u003c/a>). Best Actor nominee \u003ca href=\"https://www.goldenglobes.com/person/austin-butler\">Austin Butler,\u003c/a> who stars in \u003cem>Elvis\u003c/em> reportedly plans to be in the building. Fans will be watching the red carpet for nominated guests such as \u003ca href=\"https://www.goldenglobes.com/person/sheryl-lee-ralph\">Sheryl Lee Ralph \u003c/a>from \u003cem>Abbott Elementary\u003c/em>, \u003ca href=\"https://www.goldenglobes.com/person/julia-garner\">Julia Garner\u003c/a> from \u003cem>Inventing Anna\u003c/em> and \u003cem>Ozark\u003c/em>, and \u003ca href=\"https://www.goldenglobes.com/person/jenna-ortega\">Jenna Ortega\u003c/a> from \u003cem>Wednesday\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There may bit a little bit of sheepishness in accepting a trophy,” says Fallon. “But of course, it’s Hollywood and they can’t resist going to an awards show. So maybe I shouldn’t be surprised.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tarnished+Golden+Globes+attempt+a+comeback%2C+after+years+of+controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "There Was a Punk Show on BART Friday Night",
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"content": "\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\n\u003cp>https://www.instagram.com/p/CnGrbg6D2JR/\u003c/p>\n\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>[aside postid='arts_13865042']“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\n\u003cp>https://www.instagram.com/p/CnIRhGhSMjf/\u003c/p>\n\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"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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"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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"planet-money": {
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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",
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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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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