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"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
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"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘She Said’ Devastates, Infuriates and Inspires in Equal Measure",
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"content": "\u003cp>Journalists love movies about journalism. We just do. It’s literally impossible for us not to get excited about them. \u003ca href=\"https://www.imdb.com/title/tt1895587/?ref_=nv_sr_srsg_0\">\u003cem>Spotlight\u003c/em>\u003c/a>, about \u003cem>The Boston Globe’\u003c/em>s exposure of child abuse in the Catholic Church? Brilliant. \u003ca href=\"https://www.imdb.com/title/tt0074119/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All the President’s Men\u003c/em>\u003c/a> about the Watergate scandal? Still watch it once a year. \u003ca href=\"https://www.imdb.com/title/tt6294822/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Post\u003c/em>\u003c/a>, about the Pentagon Papers? Riveting, of course!\u003c/p>\n\u003cp>Because journalists love movies about journalism, we have a tendency to give them glowing reviews, without stopping to think about how much non-journalists really want to look at them. When I came home from a \u003ca href=\"https://www.imdb.com/title/tt14807308/?ref_=fn_al_tt_1\">\u003cem>She Said\u003c/em>\u003c/a> preview, full of praise for it, my partner replied, “Yes, but how many scenes are there of people just … typing?”\u003c/p>\n\u003cp>[aside postid='arts_13921479']The answer to that is — fine, I’ll admit it — quite a few. Because \u003cem>She Said\u003c/em> is a dramatization of how \u003cem>The New York Times\u003c/em> exposed Harvey Weinstein as a serial sexual predator in 2017. It follows real-life reporters \u003ca href=\"https://en.wikipedia.org/wiki/Jodi_Kantor\">Jodi Kantor\u003c/a> (played engagingly by Zoe Kazan) and \u003ca href=\"https://en.wikipedia.org/wiki/Megan_Twohey\">Megan Twohey\u003c/a> (the always brilliant Carey Mulligan) chasing down leads and persuading an ever-growing number of traumatized survivors to talk to them.\u003c/p>\n\u003cp>That means that yes, there are scenes of journalists typing together and separately. There are scenes of multiple people clustered around a single computer screen reading and re-reading copy to make sure it’s right. There are scenes in which the journalists are legally advised about how to approach the story. There’s even a scene of on-screen copy and pasting. But try and stick with me here, because \u003cem>She Said\u003c/em> also works incredibly hard to make sure this isn’t just a movie for journalists. Its pacing is consistently urgent, deftly compressing reams of information into sharp and compelling scenes. It will succeed in surprising even the viewers who think they know this story.\u003c/p>\n\u003cp>The opening moments — some of the most powerful in all two hours and eight minutes of the film — set the tone early and hammer home exactly what the stakes are. One minute, we’re looking at a young woman joyfully working on her first movie set in Ireland, laughing with co-workers, visibly excited to start her career. Cut to: That same young woman, tears streaming down her face, facial expression of pure terror, running as fast as she can through a deserted street. We know what has happened to her, because we know this is a movie about Harvey Weinstein. Still, the juxtaposition of her before and after is so stark — so raw — I audibly gasped in the theater. It would not be the last time I did so while watching \u003cem>She Said\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5pxUQecM3Y\u003c/p>\n\u003cp>I wondered going in if it was too soon for this story to become a movie. It’s only been five years since Kantor and Twohey published their Weinstein exposé in the \u003cem>Times\u003c/em>. It’s been four since they won the Pulitzer Prize for Public Service for doing so. And it’s been three since their book \u003cem>She Said\u003c/em>, which this movie is based on, was released.\u003c/p>\n\u003cp>[aside postid='arts_13921411']However, watching \u003cem>She Said\u003c/em> in the current moment — one in which #MeToo’s momentum has been indelibly stunted by the COVID pandemic and other factors — acts as a pertinent reminder. It’s a reminder not just of the careers lost and lives derailed by this powerful man who abused with impunity; it’s also a reminder of the systems that enabled him. It’s a reminder of the structures that continue to enable sexual harassment and abuse \u003cem>everywhere\u003c/em>. More than anything, \u003cem>She Said\u003c/em> is an inspiring reminder of the collective of women who stood up to Weinstein when he assumed nobody would.\u003c/p>\n\u003cp>Three of Weinstein’s less famous accusers are depicted by actors as both their 2017 selves and in flashbacks to their younger years when they fell prey to Weinstein. It is these scenes that will most break your heart and infuriate you. (“It was like he took my voice that day,” we hear one despair, “just when I was about to start finding it.”) You’ll also marvel at the inner strength and dogged determination of Kantor and Twohey as they collect Weinstein horror story after Weinstein horror story, unsure if they’ll ever even be able to share them with the public.\u003c/p>\n\u003cp>Part of \u003cem>She Said\u003c/em>’s success lies in the movie’s blending of the real and the recreated. Ashley Judd appears as herself, reenacting the interviews she conducted with Kantor. The now-\u003ca href=\"https://www.youtube.com/watch?v=wEu7quzUsDk\" target=\"_blank\" rel=\"noopener noreferrer\">infamous real audio of Weinstein\u003c/a> bullying — and admitting to groping — Ambra Battilana is played over footage of an eerily empty hotel hallway. We don’t see Gwyneth Paltrow or Rose McGowan, but we hear convincing impersonations of them on phone calls. A body double viewed only from behind is used to depict Harvey Weinstein’s visit to \u003cem>The New York Times\u003c/em> office, a move recalled as one of his many intimidation tactics. The choice to feature all of these very famous figures primarily off-screen — thereby avoiding the potential for distracting imitations — is a smart one that keeps the narrative on track.\u003c/p>\n\u003cp>In its promotional materials, \u003cem>She Said\u003c/em> has utilized appearances from the real women behind the story. One of them is Laura Madden, the woman depicted in \u003cem>She Said\u003c/em>’s devastating opening scenes. “He did this to all these women,” Madden recalls now, “and I felt sad for myself that that young girl had taken the blame for it.” For the women involved, \u003cem>She Said\u003c/em> is undoubtedly another step on the path to healing. For everyone else, it is one of this year’s must-see movies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘She Said’ opens in theaters on Friday, Nov. 18.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalists love movies about journalism. We just do. It’s literally impossible for us not to get excited about them. \u003ca href=\"https://www.imdb.com/title/tt1895587/?ref_=nv_sr_srsg_0\">\u003cem>Spotlight\u003c/em>\u003c/a>, about \u003cem>The Boston Globe’\u003c/em>s exposure of child abuse in the Catholic Church? Brilliant. \u003ca href=\"https://www.imdb.com/title/tt0074119/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All the President’s Men\u003c/em>\u003c/a> about the Watergate scandal? Still watch it once a year. \u003ca href=\"https://www.imdb.com/title/tt6294822/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Post\u003c/em>\u003c/a>, about the Pentagon Papers? Riveting, of course!\u003c/p>\n\u003cp>Because journalists love movies about journalism, we have a tendency to give them glowing reviews, without stopping to think about how much non-journalists really want to look at them. When I came home from a \u003ca href=\"https://www.imdb.com/title/tt14807308/?ref_=fn_al_tt_1\">\u003cem>She Said\u003c/em>\u003c/a> preview, full of praise for it, my partner replied, “Yes, but how many scenes are there of people just … typing?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The answer to that is — fine, I’ll admit it — quite a few. Because \u003cem>She Said\u003c/em> is a dramatization of how \u003cem>The New York Times\u003c/em> exposed Harvey Weinstein as a serial sexual predator in 2017. It follows real-life reporters \u003ca href=\"https://en.wikipedia.org/wiki/Jodi_Kantor\">Jodi Kantor\u003c/a> (played engagingly by Zoe Kazan) and \u003ca href=\"https://en.wikipedia.org/wiki/Megan_Twohey\">Megan Twohey\u003c/a> (the always brilliant Carey Mulligan) chasing down leads and persuading an ever-growing number of traumatized survivors to talk to them.\u003c/p>\n\u003cp>That means that yes, there are scenes of journalists typing together and separately. There are scenes of multiple people clustered around a single computer screen reading and re-reading copy to make sure it’s right. There are scenes in which the journalists are legally advised about how to approach the story. There’s even a scene of on-screen copy and pasting. But try and stick with me here, because \u003cem>She Said\u003c/em> also works incredibly hard to make sure this isn’t just a movie for journalists. Its pacing is consistently urgent, deftly compressing reams of information into sharp and compelling scenes. It will succeed in surprising even the viewers who think they know this story.\u003c/p>\n\u003cp>The opening moments — some of the most powerful in all two hours and eight minutes of the film — set the tone early and hammer home exactly what the stakes are. One minute, we’re looking at a young woman joyfully working on her first movie set in Ireland, laughing with co-workers, visibly excited to start her career. Cut to: That same young woman, tears streaming down her face, facial expression of pure terror, running as fast as she can through a deserted street. We know what has happened to her, because we know this is a movie about Harvey Weinstein. Still, the juxtaposition of her before and after is so stark — so raw — I audibly gasped in the theater. It would not be the last time I did so while watching \u003cem>She Said\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/i5pxUQecM3Y'\n title='//www.youtube.com/embed/i5pxUQecM3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wondered going in if it was too soon for this story to become a movie. It’s only been five years since Kantor and Twohey published their Weinstein exposé in the \u003cem>Times\u003c/em>. It’s been four since they won the Pulitzer Prize for Public Service for doing so. And it’s been three since their book \u003cem>She Said\u003c/em>, which this movie is based on, was released.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>However, watching \u003cem>She Said\u003c/em> in the current moment — one in which #MeToo’s momentum has been indelibly stunted by the COVID pandemic and other factors — acts as a pertinent reminder. It’s a reminder not just of the careers lost and lives derailed by this powerful man who abused with impunity; it’s also a reminder of the systems that enabled him. It’s a reminder of the structures that continue to enable sexual harassment and abuse \u003cem>everywhere\u003c/em>. More than anything, \u003cem>She Said\u003c/em> is an inspiring reminder of the collective of women who stood up to Weinstein when he assumed nobody would.\u003c/p>\n\u003cp>Three of Weinstein’s less famous accusers are depicted by actors as both their 2017 selves and in flashbacks to their younger years when they fell prey to Weinstein. It is these scenes that will most break your heart and infuriate you. (“It was like he took my voice that day,” we hear one despair, “just when I was about to start finding it.”) You’ll also marvel at the inner strength and dogged determination of Kantor and Twohey as they collect Weinstein horror story after Weinstein horror story, unsure if they’ll ever even be able to share them with the public.\u003c/p>\n\u003cp>Part of \u003cem>She Said\u003c/em>’s success lies in the movie’s blending of the real and the recreated. Ashley Judd appears as herself, reenacting the interviews she conducted with Kantor. The now-\u003ca href=\"https://www.youtube.com/watch?v=wEu7quzUsDk\" target=\"_blank\" rel=\"noopener noreferrer\">infamous real audio of Weinstein\u003c/a> bullying — and admitting to groping — Ambra Battilana is played over footage of an eerily empty hotel hallway. We don’t see Gwyneth Paltrow or Rose McGowan, but we hear convincing impersonations of them on phone calls. A body double viewed only from behind is used to depict Harvey Weinstein’s visit to \u003cem>The New York Times\u003c/em> office, a move recalled as one of his many intimidation tactics. The choice to feature all of these very famous figures primarily off-screen — thereby avoiding the potential for distracting imitations — is a smart one that keeps the narrative on track.\u003c/p>\n\u003cp>In its promotional materials, \u003cem>She Said\u003c/em> has utilized appearances from the real women behind the story. One of them is Laura Madden, the woman depicted in \u003cem>She Said\u003c/em>’s devastating opening scenes. “He did this to all these women,” Madden recalls now, “and I felt sad for myself that that young girl had taken the blame for it.” For the women involved, \u003cem>She Said\u003c/em> is undoubtedly another step on the path to healing. For everyone else, it is one of this year’s must-see movies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘She Said’ opens in theaters on Friday, Nov. 18.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
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"content": "\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>[aside postid='arts_13916796']Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Steve Jobs' Worn-Out Birkenstocks Sell for $218,000 at Auction",
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"content": "\u003cp>Sandals worn by \u003ca href=\"https://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\">Steve Jobs\u003c/a> in the early days of Apple sold for $218,750 at an auction in New York City on Sunday.\u003c/p>\n\u003cp>The brown suede Birkenstock Arizonas were worn by Jobs in the 1970s and 1980s during “many pivotal moments in Apple’s history,” according to the auction house.\u003c/p>\n\u003cp>[aside postid='arts_13886943']It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The winning bidder did not want their name disclosed, but it was sold in the room at the Hard Rock Cafe in Times Square, according to Nolan. The runner-up bid was from a potential buyer in China.\u003c/p>\n\u003cp>This is far from the most someone has paid for footwear at auction.\u003c/p>\n\u003cp>Nike Air Ships worn by Michael Jordan in 1984 sold for \u003ca href=\"https://www.npr.org/2021/10/25/1049009323/michael-jordan-shoes-sneakers-auction\">$1.47 million a year ago\u003c/a>. Black Nikes worn by Kanye West at the 2008 Grammys \u003ca href=\"https://news.artnet.com/art-world/kanye-west-sneakers-sell-sothebys-1961885\">sold for $1.8 million\u003c/a> last year as well.\u003c/p>\n\u003cp>[aside postid='arts_13898598']The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The winning bidder did not want their name disclosed, but it was sold in the room at the Hard Rock Cafe in Times Square, according to Nolan. The runner-up bid was from a potential buyer in China.\u003c/p>\n\u003cp>This is far from the most someone has paid for footwear at auction.\u003c/p>\n\u003cp>Nike Air Ships worn by Michael Jordan in 1984 sold for \u003ca href=\"https://www.npr.org/2021/10/25/1049009323/michael-jordan-shoes-sneakers-auction\">$1.47 million a year ago\u003c/a>. Black Nikes worn by Kanye West at the 2008 Grammys \u003ca href=\"https://news.artnet.com/art-world/kanye-west-sneakers-sell-sothebys-1961885\">sold for $1.8 million\u003c/a> last year as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis",
"headTitle": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis | KQED",
"content": "\u003cp>You know \u003ca href=\"https://giphy.com/clips/justin-tyra-banks-rooting-for-you-EghhnKjTtyVWCTVM64\" rel=\"noopener noreferrer\">that gif of Tyra Banks\u003c/a> yelling “I was rooting for you! We were all rooting for you!”? I have a theory that the reason it’s still in such heavy rotation is that we need it every time Lindsay Lohan does A Thing.\u003c/p>\n\u003cp>That reality show based on \u003ca href=\"https://www.kqed.org/pop/104384/cancel-your-summer-plans-lindsay-lohan-has-a-beach-resort-in-greece-now\">Lohan’s Greek beach resort\u003c/a>, which was a lot like watching an ungodly mash-up of \u003cem>The Apprentice\u003c/em> and \u003cem>Love Island?\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/91507/why-lindsay-lohans-i-know-who-killed-me-should-be-a-cult-favorite\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a>, a movie in which body parts literally start falling off Lohan’s main character because she has a secret twin who’s losing limbs elsewhere?\u003c/p>\n\u003cp>That super low-budget 2018 werewolf (yes, \u003cem>werewolf\u003c/em>) movie Lohan made, called \u003ca href=\"https://www.youtube.com/watch?v=wvALu6kj6lo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Among the Shadows\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>All deserve a Tyra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921481 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy.gif\" alt=\"\" width=\"500\" height=\"303\">\u003c/p>\n\u003cp>And yet, like so many other optimistic humans, I just keep returning to the Land o’ Lohan in the hope that one day — \u003cem>someday\u003c/em> — she gets her life and career back on track. (Damn you, \u003cem>Mean Girls\u003c/em>, for keeping us here!)\u003c/p>\n\u003cp>Lohan’s latest attempt at doing something worth watching is a new Netflix movie titled \u003cem>Falling for Christmas\u003c/em>. It is one of the approximately 8,500 seasonal movies that will come out this year and, having landed Nov. 10, it’s one of the earliest.\u003c/p>\n\u003cp>I’m here to watch it, so you don’t have to. (Oh, and I am going to tell you literally everything, so consider this your spoiler alert.)\u003c/p>\n\u003cp>0:50: Lindsay Lohan is Sierra Belmont. We know she’s terrible because she wears a padded eye mask in bed which, in movieland, as we all know, is the universal signifier for Mean Rich Lady.\u003c/p>\n\u003cfigure id=\"attachment_13921496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eye-Mask-800x497.png\" alt=\"A woman lying on silky white pillows, under a duvet, wearing a red nightgown and a white eye mask.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1920x1193.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask.png 1932w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rom-Com Rule #1: If you wear an eye mask anywhere other than a plane, you are a terrible person. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:05: Opening credit montage of annoying fancy people at a Rich People Ski Resort. We know they’re annoying rich people because they’re all wearing fluorescent colors and an air of self-entitlement.\u003c/p>\n\u003cp>2:21: Sierra is conducting a tightly packed exposition scene over the phone with a Sexually Ambiguous British Man. This is Tad, her boyfriend (surprise!), and a person that refers to himself as “one of Hype magazine’s top social influencers.” Sierra is a hotel heiress who doesn’t want to work for her dad. This movie is going to be rough.\u003c/p>\n\u003cp>3:00 Mid-phone convo, a four-person “glam squad” and a personal assistant named Terry — who is a 1990s stereotype of a Professional Gay Man — arrive at Sierra’s hotel room and start feeding her champagne and caviar while she complains about the fact that people think she’s spoiled. This movie is not subtle on any level.\u003c/p>\n\u003cfigure id=\"attachment_13921502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png\" alt=\"A man with neat fair hair, wearing a suit jacket, looks stunned.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype.png 1714w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry: Woulda been perfect on ‘Will and Grace.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>4:30: A skiing man does a series of little jumps on the slopes. We know he’s a Good (Probably Poor) Person because his clothes are muted colors and he is being soundtracked by jaunty music.\u003c/p>\n\u003cp>[aside postid='arts_13922004']4:50: Good Poor Person Man is named Jake. He is trying to talk to Sierra’s father because he needs an investor for his Regular People Ski Lodge, which is not doing so well. Then the two race each other downhill because that is absolutely how people do business at ski resorts.\u003c/p>\n\u003cp>5:19: Jake will not stop doing little unnecessary ski jumps. Please fall over, please fall over, please fall over.\u003c/p>\n\u003cp>8:50: Jake lives inside a snow globe from your Aunt Jackie’s Christmas decorations with a horse named Balthazar, an adorable grandmother and a daughter who grins constantly like she’s in a seasonal Macy’s commercial.\u003c/p>\n\u003cfigure id=\"attachment_13921501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Snow-globe-800x445.png\" alt=\"A mountain lodge, surrounded by snowy mountains.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1920x1069.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The snow globe that Jake lives in. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>13:45: Tad says the phrase “Gondolas are for losers” and dear god in heaven, how will I ever get through this movie?\u003c/p>\n\u003cp>14:15: Sierra starts singing along to “\u003ca href=\"https://www.rollingstone.com/music/music-news/lindsay-lohan-jingle-bell-rock-netflix-film-1234624531/\">Jingle Bell Rock\u003c/a>” in Tad’s car, because she just released that single, so let’s get that shoehorned in.\u003c/p>\n\u003cp>15:11: Back in Aunt Jackie’s snow globe, Jake is taking a couple from an Old Navy commercial on a sleigh ride.\u003c/p>\n\u003cp>17:33: Tad takes Sierra to the top of a mountain to propose. Sierra is dressed in a pink version of the Bride’s yellow and black jumpsuit from \u003cem>Kill Bill\u003c/em> so, frankly, who can blame him?\u003c/p>\n\u003cfigure id=\"attachment_13921503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png\" alt=\"A woman in a fluorescent pink ski suit with black details stands on skis on a mountaintop. A man in a black and white checkered jacket knees before her.\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1536x1052.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal.png 1618w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a ‘Kill Bill’ ski suit, for crying out loud! He’d be crazy not to put a ring on it! \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18:33: Jake’s perpetually-grinning child writes down a wish and hangs it on a tree at the local Christmas market. A creepazoid Santa look-a-like sees this, grins eerily and the wish flies up into the air and directly into a snowstorm. Said snowstorm hits Sierra and she falls off the side of the mountain. I am exhausted already.\u003c/p>\n\u003cp>19:35: I have a sneaking suspicion that this movie is about to turn into the Goldie Hawn-starring \u003ca href=\"https://www.youtube.com/watch?v=HH6OuDYKWNE\" target=\"_blank\" rel=\"noopener noreferrer\">1987 romantic comedy, \u003c/a>\u003cem>Overboard, \u003c/em>in which a Mean Rich Lady (she too wears an eye mask to bed) has an accident, loses her memory, then learns to be a good person by doing chores for A Working Man.\u003c/p>\n\u003cp>21:31: This movie just turned into \u003cem>Overboard\u003c/em>. This is the part where Goldie Hawn wakes up at the hospital and can’t remember who she is or what happened to her, but she’s enough of herself that she’s still awful to everyone who’s trying to help her and they can’t wait to get rid of her. Insert: Lindsay Lohan and a slightly more diverse cast.\u003c/p>\n\u003cfigure id=\"attachment_13921506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png\" alt=\"A woman sits up in bed with a bandage on her head. She is talking to a female doctor and a sheriff. There is a wreath hanging behind the hospital bed.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM.png 1780w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">May your hair look this flawless should you ever fall off a mountain and collide with a tree. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23:23: Jake — who discovered Sierra while out on his Old Navy sleigh ride — volunteers to take her back to the snow globe until they can figure out who she is. (Dude. Giving away free hotel rooms to strangers might be why your business is failing.)\u003c/p>\n\u003cp>25:03: Sierra has arrived at Jake’s lodge wearing festive hospital scrubs and no head bandage, because those evaporate the second you leave the hospital. The Grinning Child spots Sierra and does some grinning. Danny from \u003cem>The Shining\u003c/em> just popped into my head and I can’t be sure why…\u003c/p>\n\u003cfigure id=\"attachment_13921507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png\" alt=\"An adorable child with dark curly hair smiles broadly.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child.png 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Redrum, kid. Redrum. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>25:15: Sierra has a huge, fully decorated Christmas tree in her gigantic room. (Jake, man, we really need to talk about how much your struggling lodge is wasting on excessive Christmas decorations…)\u003c/p>\n\u003cp>[aside postid='arts_13890718']28:52: Sierra wakes up with a sock over her eyes and accidentally turns on the TV, so we can all catch a glimpse of another Netflix Christmas movie that the channel apparently needs to promote in the middle of \u003cem>this\u003c/em> Christmas movie. For shame, Netflix. For shame.\u003c/p>\n\u003cp>29:32: Sierra just used a crappy portable hairdryer to dry her long flowing hair and, holy crap, that must’ve taken two and a half hours.\u003c/p>\n\u003cp>31:03: Old Navy couple runs into Sierra and the Grinning Child. I am unclear what their role is in this movie but they keep showing up and doing nothing.\u003c/p>\n\u003cfigure id=\"attachment_13921509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png\" alt=\"A man driving a sleigh looks into the distance, shocked, while a white blond woman and a handsome Black man gaze at each other adoringly in the back of the sleigh.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-2048x1341.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1920x1257.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Can we please talk about how Old Navy these hotel guests are? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34:56: Tad, who got lost in the mountains, has found a small cabin with a bearded Ice Fisherman in it. Their weird sexual tension is finally giving me a reason to finish this movie.\u003c/p>\n\u003cp>35:01: Jake’s crappy customers keep calling and canceling because they’re staying at Airbnbs instead. “We can’t even afford a housekeeper!” Jake despairs. Cue Sierra taking up the task, because this movie is \u003cem>Overboard, \u003c/em>albeit without the humor and the electric sexual chemistry.\u003c/p>\n\u003cfigure id=\"attachment_13921510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Bed-Making-800x508.png\" alt=\"A woman lies on a bed, stretched out on top of a fitted sheet that's clinging to her.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sierra: A grown-ass human who doesn’t know how to put a sheet on a bed. This is supposed to be funny, I think? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>37:54: It’s not my imagination. Tad and the Ice Fisherman have a full blown \u003cem>vibe\u003c/em>. They’re wrestling in the snow. ”You’re so strong,” Tad says, followed by a series of sex noises. I’m really rooting for these two.\u003c/p>\n\u003cp>40:05: Sierra goes outside and tells all of her feelings to Balthazar the horse like he’s Mr. Ed.\u003c/p>\n\u003cp>43:48: Sierra, Jake and the Grinning Child are at the local Christmas market where Creepy Santa is showing them all a sleigh Jake can’t afford.\u003c/p>\n\u003cfigure id=\"attachment_13921511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Trio-at-Market-800x508.png\" alt=\"A woman, man and child all wearing winter clothes and hats, stand together smiling. \" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1536x976.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market.png 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The only direction given to this child for the entirety of this movie was ‘smile broadly.’ It is unnerving. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>47:16: Despite wearing that beanie all damn night, when the trio get home from the market, Jake’s hair looks like this.\u003c/p>\n\u003cfigure id=\"attachment_13921512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jake-hair-800x493.png\" alt=\"A white man with perfectly coiffed hair smiles.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stop it. Just stop it. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48:32: Sierra figures out how to make a bed and flip a pancake, so she is A Good Person now. This Grinning Child situation is gonna finish me.\u003c/p>\n\u003cp>49:23: Sierra, Jake and the Grinning Child are singing songs and decorating gingerbread houses and skiing and dear god man, haven’t you got a business to save?\u003c/p>\n\u003cfigure id=\"attachment_13921519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/popcorn-fight-800x461.png\" alt=\"A young girl and a woman flinch and laugh as they throw popcorn.\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1536x885.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-2048x1180.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1920x1106.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What do you do when you’re about to lose your business and home? Have a popcorn fight with these two, apparently. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>50:28: Old Navy Couple just checked out of the lodge and who will sit in the background now?\u003c/p>\n\u003cp>[aside postid='arts_13889581']55:47: Sierra and Jake almost kiss, then don’t and all I can think about is Tad and the Ice Fisherman, who are probably at third base by now.\u003c/p>\n\u003cp>56:56: Sierra tells Jake’s grandmother and the Grinning Child that she’s figured out how to save Jake’s lodge: a party/fundraiser. Grandma, who gave the lodge to Jake and her (now deceased) daughter as a wedding gift, helpfully provides Sierra with “every contact for every guest from the last three decades,” like all those old-timey landlines are still going to work just fine. Thanks Grandma.\u003c/p>\n\u003cp>1:00:00: This small lodge has more Christmas decorations than the Union Square Macy’s windows on Dec. 24 and I have so many questions about Jake’s budgeting abilities.\u003c/p>\n\u003cfigure id=\"attachment_13921513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/excessive-decorations-800x500.png\" alt=\"A hallway with rooms visible down the hall, all very thoroughly decorated with lights and green festive decorations.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1536x960.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1920x1200.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations.png 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jake’s lodge: The answer to the question, ‘How many Christmas decorations is too many Christmas decorations?’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:02:02: Montage of invitation-printing and Christmas Eve party-planning. This movie is 12 hours long, I swear to god.\u003c/p>\n\u003cp>1:02:43: Tad and the Ice Fisherman are around a campfire eating beans. The sexual tension is thicker than the snow.\u003c/p>\n\u003cp>1:04:24: Sierra’s dad gets back from a business trip, discovers she’s disappeared, and declares his intention to get the sheriff involved. It’s hard to care about any of it because I just realized that Sierra’s dad has the middle-aged man version of Jake’s haircut and, um, that seems weird.\u003c/p>\n\u003cfigure id=\"attachment_13921514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png\" alt=\"An attractive older man wearing a white shirt and tie and black winter coat, looks concerned.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1536x944.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1920x1179.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Why does Sierra’s dad have the same hair as her love interest? You know what? Nevermind. That’s a question for her therapist. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:06:00: The sheriff finds Tad and the Ice Fisherman and brings them in for “poaching on government land.” Tad defends his mountain man in the sheriff’s office. If these two don’t make out soon, I’m going to toss my laptop through a window.\u003c/p>\n\u003cp>1:08:02: Sierra walks down some stairs wearing a red dress and everyone gasps and you already know this scene because it’s in literally every romantic comedy ever made.\u003c/p>\n\u003cfigure id=\"attachment_13921515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png\" alt=\"Lindsay Lohan wearing a red dress, walking down some stairs, Christmas decorations all around her.\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1020x603.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-768x454.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1536x908.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations.png 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If it weren’t for the excessive Christmas decoration, I’d assume this was Rachael Leigh Cook in ‘She’s All That.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:10:09: Party is in full swing and everyone is smiling like the Grinning Child. Random people keep giving Jake checks for all the free crap he’s done for them over the years. Literally everyone is donating by check. Is Jake’s ski lodge a portal back to the 1970s?\u003c/p>\n\u003cp>1:14:17: Sierra’s dad and Tad run into the party, she remembers everything and unceremoniously bolts despite the objections of Grinning Child, who has finally stopped grinning. Sweet relief!\u003c/p>\n\u003cp>1:16:39: Grossly unnecessary montage of all of the things we’ve literally just spent the last hour watching Sierra and Jake doing together. Give me strength.\u003c/p>\n\u003cp>[aside postid='arts_13889748']1:18:30: Sierra is in the kitchen hanging out with the hotel staff making pancakes. This scene was much better when it was in \u003cem>Overboard\u003c/em> because in that version there was tequila.\u003c/p>\n\u003cp>1:19:11: Sierra holds a press conference on Christmas morning because journalists definitely don’t have anything better to do that day. She shouts out Jake and recommends the lodge to all of the people watching a stupid heiress press conference on Christmas morning.\u003c/p>\n\u003cp>1:20:51: Grinning Child insists Jake tell Sierra how he feels about her, and the two take Creepy Santa’s sleigh (which is magically waiting for them outside the lodge — don’t ask questions) over to Sierra’s dad’s fancy resort.\u003c/p>\n\u003cp>1:23:04: Sierra tells her dad she needs to make her own way in the world. He replies “I promised your mother I’d take care of you. Looks like you’re starting to take care of yourself.” IF YOU MAKE A PANCAKE IN FRONT OF YOUR DAD THAT’S MAKING YOUR WAY IN THE WORLD NOW.\u003c/p>\n\u003cp>1:24:19: The lodge’s phone won’t stop ringing because of Sierra Belmont’s fans booking rooms. On Christmas Day. Grandma deals with it because she is the only glue holding this lodge together.\u003c/p>\n\u003cp>1:25:10: Sierra breaks up with Tad. Go find the Ice Fisherman, Tad!\u003c/p>\n\u003cfigure id=\"attachment_13921518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png\" alt=\"A handsome white man with very styled dark hair looks fondly at someone, tilting his head.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1020x706.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tad, a sexually ambiguous British man in need of some fisherman love.\u003c/figcaption>\u003c/figure>\n\u003cp>1:26:06: Tad invites the 1990s Gay Stereotype to spend New Year’s with him. It’s not quite what I wanted, but it’ll do!\u003c/p>\n\u003cp>1:26:51: Creepy Santa shows up and directs Jake to where Sierra is in the hotel. Haven’t you got children to spy on, Creepy Santa?\u003c/p>\n\u003cp>1:28:28: Sierra says her dad wants to invest in Jake’s lodge and that she will work there too. Instead of discussing contracts or the fact that Sierra basically just invited herself to move in with Jake after he’s known her for one week, they kiss finally and, meh, it’s not really worth all the build-up to be honest.\u003c/p>\n\u003cp>1:28:52: Sierra’s dad walks in with Grinning Child. “What a Christmas, you guys,” Jake says. “Yeah, it’s one I’ll never forget,” says Sierra. Massive groan.\u003c/p>\n\u003cp>1:29:49: It’s over! It’s finally over!\u003c/p>\n\u003cp>1:29:54: Wait. No. There’s a blooper reel.\u003c/p>\n\u003cp>1:33:45: \u003cem>Now\u003c/em> it’s finally over! Lindsay Lohan doesn’t get a Tyra gif for this one, but she can definitely have this instead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921516 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.netflix.com/search?q=falling%20for%20christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Falling for Christmas\u003c/a>‘ is streaming now, on Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know \u003ca href=\"https://giphy.com/clips/justin-tyra-banks-rooting-for-you-EghhnKjTtyVWCTVM64\" rel=\"noopener noreferrer\">that gif of Tyra Banks\u003c/a> yelling “I was rooting for you! We were all rooting for you!”? I have a theory that the reason it’s still in such heavy rotation is that we need it every time Lindsay Lohan does A Thing.\u003c/p>\n\u003cp>That reality show based on \u003ca href=\"https://www.kqed.org/pop/104384/cancel-your-summer-plans-lindsay-lohan-has-a-beach-resort-in-greece-now\">Lohan’s Greek beach resort\u003c/a>, which was a lot like watching an ungodly mash-up of \u003cem>The Apprentice\u003c/em> and \u003cem>Love Island?\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/91507/why-lindsay-lohans-i-know-who-killed-me-should-be-a-cult-favorite\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a>, a movie in which body parts literally start falling off Lohan’s main character because she has a secret twin who’s losing limbs elsewhere?\u003c/p>\n\u003cp>That super low-budget 2018 werewolf (yes, \u003cem>werewolf\u003c/em>) movie Lohan made, called \u003ca href=\"https://www.youtube.com/watch?v=wvALu6kj6lo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Among the Shadows\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>All deserve a Tyra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921481 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy.gif\" alt=\"\" width=\"500\" height=\"303\">\u003c/p>\n\u003cp>And yet, like so many other optimistic humans, I just keep returning to the Land o’ Lohan in the hope that one day — \u003cem>someday\u003c/em> — she gets her life and career back on track. (Damn you, \u003cem>Mean Girls\u003c/em>, for keeping us here!)\u003c/p>\n\u003cp>Lohan’s latest attempt at doing something worth watching is a new Netflix movie titled \u003cem>Falling for Christmas\u003c/em>. It is one of the approximately 8,500 seasonal movies that will come out this year and, having landed Nov. 10, it’s one of the earliest.\u003c/p>\n\u003cp>I’m here to watch it, so you don’t have to. (Oh, and I am going to tell you literally everything, so consider this your spoiler alert.)\u003c/p>\n\u003cp>0:50: Lindsay Lohan is Sierra Belmont. We know she’s terrible because she wears a padded eye mask in bed which, in movieland, as we all know, is the universal signifier for Mean Rich Lady.\u003c/p>\n\u003cfigure id=\"attachment_13921496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eye-Mask-800x497.png\" alt=\"A woman lying on silky white pillows, under a duvet, wearing a red nightgown and a white eye mask.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1920x1193.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask.png 1932w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rom-Com Rule #1: If you wear an eye mask anywhere other than a plane, you are a terrible person. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:05: Opening credit montage of annoying fancy people at a Rich People Ski Resort. We know they’re annoying rich people because they’re all wearing fluorescent colors and an air of self-entitlement.\u003c/p>\n\u003cp>2:21: Sierra is conducting a tightly packed exposition scene over the phone with a Sexually Ambiguous British Man. This is Tad, her boyfriend (surprise!), and a person that refers to himself as “one of Hype magazine’s top social influencers.” Sierra is a hotel heiress who doesn’t want to work for her dad. This movie is going to be rough.\u003c/p>\n\u003cp>3:00 Mid-phone convo, a four-person “glam squad” and a personal assistant named Terry — who is a 1990s stereotype of a Professional Gay Man — arrive at Sierra’s hotel room and start feeding her champagne and caviar while she complains about the fact that people think she’s spoiled. This movie is not subtle on any level.\u003c/p>\n\u003cfigure id=\"attachment_13921502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png\" alt=\"A man with neat fair hair, wearing a suit jacket, looks stunned.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype.png 1714w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry: Woulda been perfect on ‘Will and Grace.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>4:30: A skiing man does a series of little jumps on the slopes. We know he’s a Good (Probably Poor) Person because his clothes are muted colors and he is being soundtracked by jaunty music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>4:50: Good Poor Person Man is named Jake. He is trying to talk to Sierra’s father because he needs an investor for his Regular People Ski Lodge, which is not doing so well. Then the two race each other downhill because that is absolutely how people do business at ski resorts.\u003c/p>\n\u003cp>5:19: Jake will not stop doing little unnecessary ski jumps. Please fall over, please fall over, please fall over.\u003c/p>\n\u003cp>8:50: Jake lives inside a snow globe from your Aunt Jackie’s Christmas decorations with a horse named Balthazar, an adorable grandmother and a daughter who grins constantly like she’s in a seasonal Macy’s commercial.\u003c/p>\n\u003cfigure id=\"attachment_13921501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Snow-globe-800x445.png\" alt=\"A mountain lodge, surrounded by snowy mountains.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1920x1069.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The snow globe that Jake lives in. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>13:45: Tad says the phrase “Gondolas are for losers” and dear god in heaven, how will I ever get through this movie?\u003c/p>\n\u003cp>14:15: Sierra starts singing along to “\u003ca href=\"https://www.rollingstone.com/music/music-news/lindsay-lohan-jingle-bell-rock-netflix-film-1234624531/\">Jingle Bell Rock\u003c/a>” in Tad’s car, because she just released that single, so let’s get that shoehorned in.\u003c/p>\n\u003cp>15:11: Back in Aunt Jackie’s snow globe, Jake is taking a couple from an Old Navy commercial on a sleigh ride.\u003c/p>\n\u003cp>17:33: Tad takes Sierra to the top of a mountain to propose. Sierra is dressed in a pink version of the Bride’s yellow and black jumpsuit from \u003cem>Kill Bill\u003c/em> so, frankly, who can blame him?\u003c/p>\n\u003cfigure id=\"attachment_13921503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png\" alt=\"A woman in a fluorescent pink ski suit with black details stands on skis on a mountaintop. A man in a black and white checkered jacket knees before her.\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1536x1052.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal.png 1618w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a ‘Kill Bill’ ski suit, for crying out loud! He’d be crazy not to put a ring on it! \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18:33: Jake’s perpetually-grinning child writes down a wish and hangs it on a tree at the local Christmas market. A creepazoid Santa look-a-like sees this, grins eerily and the wish flies up into the air and directly into a snowstorm. Said snowstorm hits Sierra and she falls off the side of the mountain. I am exhausted already.\u003c/p>\n\u003cp>19:35: I have a sneaking suspicion that this movie is about to turn into the Goldie Hawn-starring \u003ca href=\"https://www.youtube.com/watch?v=HH6OuDYKWNE\" target=\"_blank\" rel=\"noopener noreferrer\">1987 romantic comedy, \u003c/a>\u003cem>Overboard, \u003c/em>in which a Mean Rich Lady (she too wears an eye mask to bed) has an accident, loses her memory, then learns to be a good person by doing chores for A Working Man.\u003c/p>\n\u003cp>21:31: This movie just turned into \u003cem>Overboard\u003c/em>. This is the part where Goldie Hawn wakes up at the hospital and can’t remember who she is or what happened to her, but she’s enough of herself that she’s still awful to everyone who’s trying to help her and they can’t wait to get rid of her. Insert: Lindsay Lohan and a slightly more diverse cast.\u003c/p>\n\u003cfigure id=\"attachment_13921506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png\" alt=\"A woman sits up in bed with a bandage on her head. She is talking to a female doctor and a sheriff. There is a wreath hanging behind the hospital bed.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM.png 1780w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">May your hair look this flawless should you ever fall off a mountain and collide with a tree. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23:23: Jake — who discovered Sierra while out on his Old Navy sleigh ride — volunteers to take her back to the snow globe until they can figure out who she is. (Dude. Giving away free hotel rooms to strangers might be why your business is failing.)\u003c/p>\n\u003cp>25:03: Sierra has arrived at Jake’s lodge wearing festive hospital scrubs and no head bandage, because those evaporate the second you leave the hospital. The Grinning Child spots Sierra and does some grinning. Danny from \u003cem>The Shining\u003c/em> just popped into my head and I can’t be sure why…\u003c/p>\n\u003cfigure id=\"attachment_13921507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png\" alt=\"An adorable child with dark curly hair smiles broadly.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child.png 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Redrum, kid. Redrum. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>25:15: Sierra has a huge, fully decorated Christmas tree in her gigantic room. (Jake, man, we really need to talk about how much your struggling lodge is wasting on excessive Christmas decorations…)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>28:52: Sierra wakes up with a sock over her eyes and accidentally turns on the TV, so we can all catch a glimpse of another Netflix Christmas movie that the channel apparently needs to promote in the middle of \u003cem>this\u003c/em> Christmas movie. For shame, Netflix. For shame.\u003c/p>\n\u003cp>29:32: Sierra just used a crappy portable hairdryer to dry her long flowing hair and, holy crap, that must’ve taken two and a half hours.\u003c/p>\n\u003cp>31:03: Old Navy couple runs into Sierra and the Grinning Child. I am unclear what their role is in this movie but they keep showing up and doing nothing.\u003c/p>\n\u003cfigure id=\"attachment_13921509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png\" alt=\"A man driving a sleigh looks into the distance, shocked, while a white blond woman and a handsome Black man gaze at each other adoringly in the back of the sleigh.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-2048x1341.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1920x1257.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Can we please talk about how Old Navy these hotel guests are? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34:56: Tad, who got lost in the mountains, has found a small cabin with a bearded Ice Fisherman in it. Their weird sexual tension is finally giving me a reason to finish this movie.\u003c/p>\n\u003cp>35:01: Jake’s crappy customers keep calling and canceling because they’re staying at Airbnbs instead. “We can’t even afford a housekeeper!” Jake despairs. Cue Sierra taking up the task, because this movie is \u003cem>Overboard, \u003c/em>albeit without the humor and the electric sexual chemistry.\u003c/p>\n\u003cfigure id=\"attachment_13921510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Bed-Making-800x508.png\" alt=\"A woman lies on a bed, stretched out on top of a fitted sheet that's clinging to her.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sierra: A grown-ass human who doesn’t know how to put a sheet on a bed. This is supposed to be funny, I think? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>37:54: It’s not my imagination. Tad and the Ice Fisherman have a full blown \u003cem>vibe\u003c/em>. They’re wrestling in the snow. ”You’re so strong,” Tad says, followed by a series of sex noises. I’m really rooting for these two.\u003c/p>\n\u003cp>40:05: Sierra goes outside and tells all of her feelings to Balthazar the horse like he’s Mr. Ed.\u003c/p>\n\u003cp>43:48: Sierra, Jake and the Grinning Child are at the local Christmas market where Creepy Santa is showing them all a sleigh Jake can’t afford.\u003c/p>\n\u003cfigure id=\"attachment_13921511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Trio-at-Market-800x508.png\" alt=\"A woman, man and child all wearing winter clothes and hats, stand together smiling. \" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1536x976.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market.png 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The only direction given to this child for the entirety of this movie was ‘smile broadly.’ It is unnerving. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>47:16: Despite wearing that beanie all damn night, when the trio get home from the market, Jake’s hair looks like this.\u003c/p>\n\u003cfigure id=\"attachment_13921512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jake-hair-800x493.png\" alt=\"A white man with perfectly coiffed hair smiles.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stop it. Just stop it. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48:32: Sierra figures out how to make a bed and flip a pancake, so she is A Good Person now. This Grinning Child situation is gonna finish me.\u003c/p>\n\u003cp>49:23: Sierra, Jake and the Grinning Child are singing songs and decorating gingerbread houses and skiing and dear god man, haven’t you got a business to save?\u003c/p>\n\u003cfigure id=\"attachment_13921519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/popcorn-fight-800x461.png\" alt=\"A young girl and a woman flinch and laugh as they throw popcorn.\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1536x885.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-2048x1180.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1920x1106.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What do you do when you’re about to lose your business and home? Have a popcorn fight with these two, apparently. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>50:28: Old Navy Couple just checked out of the lodge and who will sit in the background now?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>55:47: Sierra and Jake almost kiss, then don’t and all I can think about is Tad and the Ice Fisherman, who are probably at third base by now.\u003c/p>\n\u003cp>56:56: Sierra tells Jake’s grandmother and the Grinning Child that she’s figured out how to save Jake’s lodge: a party/fundraiser. Grandma, who gave the lodge to Jake and her (now deceased) daughter as a wedding gift, helpfully provides Sierra with “every contact for every guest from the last three decades,” like all those old-timey landlines are still going to work just fine. Thanks Grandma.\u003c/p>\n\u003cp>1:00:00: This small lodge has more Christmas decorations than the Union Square Macy’s windows on Dec. 24 and I have so many questions about Jake’s budgeting abilities.\u003c/p>\n\u003cfigure id=\"attachment_13921513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/excessive-decorations-800x500.png\" alt=\"A hallway with rooms visible down the hall, all very thoroughly decorated with lights and green festive decorations.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1536x960.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1920x1200.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations.png 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jake’s lodge: The answer to the question, ‘How many Christmas decorations is too many Christmas decorations?’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:02:02: Montage of invitation-printing and Christmas Eve party-planning. This movie is 12 hours long, I swear to god.\u003c/p>\n\u003cp>1:02:43: Tad and the Ice Fisherman are around a campfire eating beans. The sexual tension is thicker than the snow.\u003c/p>\n\u003cp>1:04:24: Sierra’s dad gets back from a business trip, discovers she’s disappeared, and declares his intention to get the sheriff involved. It’s hard to care about any of it because I just realized that Sierra’s dad has the middle-aged man version of Jake’s haircut and, um, that seems weird.\u003c/p>\n\u003cfigure id=\"attachment_13921514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png\" alt=\"An attractive older man wearing a white shirt and tie and black winter coat, looks concerned.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1536x944.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1920x1179.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Why does Sierra’s dad have the same hair as her love interest? You know what? Nevermind. That’s a question for her therapist. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:06:00: The sheriff finds Tad and the Ice Fisherman and brings them in for “poaching on government land.” Tad defends his mountain man in the sheriff’s office. If these two don’t make out soon, I’m going to toss my laptop through a window.\u003c/p>\n\u003cp>1:08:02: Sierra walks down some stairs wearing a red dress and everyone gasps and you already know this scene because it’s in literally every romantic comedy ever made.\u003c/p>\n\u003cfigure id=\"attachment_13921515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png\" alt=\"Lindsay Lohan wearing a red dress, walking down some stairs, Christmas decorations all around her.\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1020x603.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-768x454.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1536x908.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations.png 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If it weren’t for the excessive Christmas decoration, I’d assume this was Rachael Leigh Cook in ‘She’s All That.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:10:09: Party is in full swing and everyone is smiling like the Grinning Child. Random people keep giving Jake checks for all the free crap he’s done for them over the years. Literally everyone is donating by check. Is Jake’s ski lodge a portal back to the 1970s?\u003c/p>\n\u003cp>1:14:17: Sierra’s dad and Tad run into the party, she remembers everything and unceremoniously bolts despite the objections of Grinning Child, who has finally stopped grinning. Sweet relief!\u003c/p>\n\u003cp>1:16:39: Grossly unnecessary montage of all of the things we’ve literally just spent the last hour watching Sierra and Jake doing together. Give me strength.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1:18:30: Sierra is in the kitchen hanging out with the hotel staff making pancakes. This scene was much better when it was in \u003cem>Overboard\u003c/em> because in that version there was tequila.\u003c/p>\n\u003cp>1:19:11: Sierra holds a press conference on Christmas morning because journalists definitely don’t have anything better to do that day. She shouts out Jake and recommends the lodge to all of the people watching a stupid heiress press conference on Christmas morning.\u003c/p>\n\u003cp>1:20:51: Grinning Child insists Jake tell Sierra how he feels about her, and the two take Creepy Santa’s sleigh (which is magically waiting for them outside the lodge — don’t ask questions) over to Sierra’s dad’s fancy resort.\u003c/p>\n\u003cp>1:23:04: Sierra tells her dad she needs to make her own way in the world. He replies “I promised your mother I’d take care of you. Looks like you’re starting to take care of yourself.” IF YOU MAKE A PANCAKE IN FRONT OF YOUR DAD THAT’S MAKING YOUR WAY IN THE WORLD NOW.\u003c/p>\n\u003cp>1:24:19: The lodge’s phone won’t stop ringing because of Sierra Belmont’s fans booking rooms. On Christmas Day. Grandma deals with it because she is the only glue holding this lodge together.\u003c/p>\n\u003cp>1:25:10: Sierra breaks up with Tad. Go find the Ice Fisherman, Tad!\u003c/p>\n\u003cfigure id=\"attachment_13921518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png\" alt=\"A handsome white man with very styled dark hair looks fondly at someone, tilting his head.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1020x706.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tad, a sexually ambiguous British man in need of some fisherman love.\u003c/figcaption>\u003c/figure>\n\u003cp>1:26:06: Tad invites the 1990s Gay Stereotype to spend New Year’s with him. It’s not quite what I wanted, but it’ll do!\u003c/p>\n\u003cp>1:26:51: Creepy Santa shows up and directs Jake to where Sierra is in the hotel. Haven’t you got children to spy on, Creepy Santa?\u003c/p>\n\u003cp>1:28:28: Sierra says her dad wants to invest in Jake’s lodge and that she will work there too. Instead of discussing contracts or the fact that Sierra basically just invited herself to move in with Jake after he’s known her for one week, they kiss finally and, meh, it’s not really worth all the build-up to be honest.\u003c/p>\n\u003cp>1:28:52: Sierra’s dad walks in with Grinning Child. “What a Christmas, you guys,” Jake says. “Yeah, it’s one I’ll never forget,” says Sierra. Massive groan.\u003c/p>\n\u003cp>1:29:49: It’s over! It’s finally over!\u003c/p>\n\u003cp>1:29:54: Wait. No. There’s a blooper reel.\u003c/p>\n\u003cp>1:33:45: \u003cem>Now\u003c/em> it’s finally over! Lindsay Lohan doesn’t get a Tyra gif for this one, but she can definitely have this instead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921516 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.netflix.com/search?q=falling%20for%20christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Falling for Christmas\u003c/a>‘ is streaming now, on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album",
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"content": "\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920908']In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>[aside postid='pop_104969']The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\n\u003cp>https://twitter.com/OVOSound/status/1587914638095589377\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>[aside postid='arts_13920799']In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W4t58Yruhds\u003c/p>\n\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>[aside postid='arts_13921052']A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/W4t58Yruhds'\n title='//www.youtube.com/embed/W4t58Yruhds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Jeopardy! Tournament of Champions’ Has the Makings of Being the Greatest Yet",
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"content": "\u003cp>The \u003cem>Jeopardy! Tournament of Champions\u003c/em> (TOC) is like the Super Bowl for trivia nerds, but even if you’re not a trivia fan, you may want to tune in this time.\u003c/p>\n\u003cp>This year’s cast is not only the most impressive group of competitors ever, but \u003cem>Jeopardy!\u003c/em> is also implementing a new structure that could make for the most exciting tournament in the show’s history.\u003c/p>\n\u003ch3>How the tournament works\u003c/h3>\n\u003cp>Every year, \u003cem>Jeopardy!\u003c/em> reconvenes a cast of its most dominant players from the previous season to compete in a tournament-style competition.\u003c/p>\n\u003cp>Over the course of two weeks, the contestants face off in a series of quarterfinal, semifinal and final rounds, all vying to make their mark in \u003cem>Jeopardy!\u003c/em> history, and a $250,000 prize.\u003c/p>\n\u003cp>Typically, 15 past players are invited back to compete in the tournament. This year, the contestant pool has increased to 21.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of those 21, 18 will play in TOC’s quarterfinal rounds, with the remaining three having been pre-selected to skip to the tournament’s semifinals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AdqRBZVo4IA\u003c/p>\n\u003cp>But who are those pre-select semifinalists?\u003c/p>\n\u003ch3>Here are the super champs!\u003c/h3>\n\u003cp>The three pre-selected semifinal contestants are Amy Schneider, Matt Amodio, and Mattea Roach.\u003c/p>\n\u003cp>These three contestants are considered \u003cem>Jeopardy!\u003c/em> “super champions” (a title given to contestants who exceed 10 consecutive wins), with each of them having had one of the top five longest streaks of consecutive wins in regular season play.\u003c/p>\n\u003cp>\u003cstrong>Amy Schneider — 41 consecutive wins (2nd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1074-re-se-b126c7ced82f9fed357d8b07078fd884fe364f2b-800x600.jpg\" alt=\"A bespectacled woman in powder blue suit jacket stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Amy Schneider won a total $1,382,800 during her streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of breaking records, Schneider might be the most formidable contender in this year’s tournament. She holds the second longest streak of consecutive wins in the show’s history, is the highest winning female contestant, and is the first openly transgender contestant to qualify for the tournament of champions.\u003c/p>\n\u003cp>\u003cstrong>Matt Amodio — 38 consecutive wins (3rd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921173\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1081-re-se-6512fb61610bb25d1f44b7af15712bf000a734cf-800x600.jpg\" alt=\"A young man with tight curly black hair, wearing an argyle sweater stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Matt Amodio won a total $1,518,601 during his streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Amodio does not have the longest running streak amongst TOC contestants, his track record shows that he was more dominant than Schneider on a per-game basis. Amodio’s cumulative winnings on \u003cem>Jeopardy!\u003c/em> exceed Schneider’s by more than $100,000, despite having three fewer wins overall.\u003c/p>\n\u003cp>\u003cstrong>Mattea Roach — 23 consecutive wins (5th longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1086-re-se-ee8ceeb9b1422fc5e7bd9d9277b2118d0623fb81-800x601.jpg\" alt=\"A young woman with short hair and glasses stands behind a game show podium wearing a white shirt and black suit jacket.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">Matteaa Roach won a total $560,983 during their streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At just 24 years old, Roach is the youngest super champion competing. But that is certainly no reason to discount them — just like Amodio and Schneider, Roach boasts over 90% correct response accuracy.\u003c/p>\n\u003cp>Although Schneider, Amodio, and Roach are not the only super champions competing in the tournament, their track records are so dominant that the show’s producers felt the need to distinguish them from the rest of the field.\u003c/p>\n\u003cp>“We looked at Mattea, and Matt and Amy, we had to draw a distinction between them and the rest of our players,” executive producer Michael Davies said.\u003c/p>\n\u003ch3>The underdogs\u003c/h3>\n\u003cp>Generally, the contestants cast to appear in the TOC have either gone on long streaks of consecutive wins, or are winners of the show’s special tournaments, such as the college tournament or teacher’s tournament.\u003c/p>\n\u003cp>This year, however, two contestants competing in the tournament of champions have never won a game of regular season play.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1586432687354486784\u003c/p>\n\u003cp>Rowan Ward and Jessica Stephens both lost the first time they competed on the show. While losing on your first appearance has historically barred a contestant from returning, Ward and Stephens managed secured their spots in the TOC by winning the show’s Second Chance Competition, which was held for the first time this year.\u003c/p>\n\u003cp>[aside postid='arts_13907974']While some may be looking at the Second Chance competitors as underdogs, that’s certainly not how Ward sees it. They’re going into the tournament having unfinished business with Amodio, who defeated Ward on their first appearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And I want another shot at Matt Amodio,” Ward told NPR. “Whether I get it, who knows, but [I’m coming] into tournament of champions with all the confidence in the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Jeopardy%21+Tournament+of+Champions%27+has+the+makings+of+being+the+greatest+yet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Jeopardy! Tournament of Champions\u003c/em> (TOC) is like the Super Bowl for trivia nerds, but even if you’re not a trivia fan, you may want to tune in this time.\u003c/p>\n\u003cp>This year’s cast is not only the most impressive group of competitors ever, but \u003cem>Jeopardy!\u003c/em> is also implementing a new structure that could make for the most exciting tournament in the show’s history.\u003c/p>\n\u003ch3>How the tournament works\u003c/h3>\n\u003cp>Every year, \u003cem>Jeopardy!\u003c/em> reconvenes a cast of its most dominant players from the previous season to compete in a tournament-style competition.\u003c/p>\n\u003cp>Over the course of two weeks, the contestants face off in a series of quarterfinal, semifinal and final rounds, all vying to make their mark in \u003cem>Jeopardy!\u003c/em> history, and a $250,000 prize.\u003c/p>\n\u003cp>Typically, 15 past players are invited back to compete in the tournament. This year, the contestant pool has increased to 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of those 21, 18 will play in TOC’s quarterfinal rounds, with the remaining three having been pre-selected to skip to the tournament’s semifinals.\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/AdqRBZVo4IA'\n title='//www.youtube.com/embed/AdqRBZVo4IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But who are those pre-select semifinalists?\u003c/p>\n\u003ch3>Here are the super champs!\u003c/h3>\n\u003cp>The three pre-selected semifinal contestants are Amy Schneider, Matt Amodio, and Mattea Roach.\u003c/p>\n\u003cp>These three contestants are considered \u003cem>Jeopardy!\u003c/em> “super champions” (a title given to contestants who exceed 10 consecutive wins), with each of them having had one of the top five longest streaks of consecutive wins in regular season play.\u003c/p>\n\u003cp>\u003cstrong>Amy Schneider — 41 consecutive wins (2nd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1074-re-se-b126c7ced82f9fed357d8b07078fd884fe364f2b-800x600.jpg\" alt=\"A bespectacled woman in powder blue suit jacket stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Amy Schneider won a total $1,382,800 during her streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of breaking records, Schneider might be the most formidable contender in this year’s tournament. She holds the second longest streak of consecutive wins in the show’s history, is the highest winning female contestant, and is the first openly transgender contestant to qualify for the tournament of champions.\u003c/p>\n\u003cp>\u003cstrong>Matt Amodio — 38 consecutive wins (3rd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921173\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1081-re-se-6512fb61610bb25d1f44b7af15712bf000a734cf-800x600.jpg\" alt=\"A young man with tight curly black hair, wearing an argyle sweater stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Matt Amodio won a total $1,518,601 during his streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Amodio does not have the longest running streak amongst TOC contestants, his track record shows that he was more dominant than Schneider on a per-game basis. Amodio’s cumulative winnings on \u003cem>Jeopardy!\u003c/em> exceed Schneider’s by more than $100,000, despite having three fewer wins overall.\u003c/p>\n\u003cp>\u003cstrong>Mattea Roach — 23 consecutive wins (5th longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1086-re-se-ee8ceeb9b1422fc5e7bd9d9277b2118d0623fb81-800x601.jpg\" alt=\"A young woman with short hair and glasses stands behind a game show podium wearing a white shirt and black suit jacket.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">Matteaa Roach won a total $560,983 during their streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At just 24 years old, Roach is the youngest super champion competing. But that is certainly no reason to discount them — just like Amodio and Schneider, Roach boasts over 90% correct response accuracy.\u003c/p>\n\u003cp>Although Schneider, Amodio, and Roach are not the only super champions competing in the tournament, their track records are so dominant that the show’s producers felt the need to distinguish them from the rest of the field.\u003c/p>\n\u003cp>“We looked at Mattea, and Matt and Amy, we had to draw a distinction between them and the rest of our players,” executive producer Michael Davies said.\u003c/p>\n\u003ch3>The underdogs\u003c/h3>\n\u003cp>Generally, the contestants cast to appear in the TOC have either gone on long streaks of consecutive wins, or are winners of the show’s special tournaments, such as the college tournament or teacher’s tournament.\u003c/p>\n\u003cp>This year, however, two contestants competing in the tournament of champions have never won a game of regular season play.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rowan Ward and Jessica Stephens both lost the first time they competed on the show. While losing on your first appearance has historically barred a contestant from returning, Ward and Stephens managed secured their spots in the TOC by winning the show’s Second Chance Competition, which was held for the first time this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some may be looking at the Second Chance competitors as underdogs, that’s certainly not how Ward sees it. They’re going into the tournament having unfinished business with Amodio, who defeated Ward on their first appearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And I want another shot at Matt Amodio,” Ward told NPR. “Whether I get it, who knows, but [I’m coming] into tournament of champions with all the confidence in the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Jeopardy%21+Tournament+of+Champions%27+has+the+makings+of+being+the+greatest+yet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Elaine Mayes’ Portraits Offer a Starker View of the Haight’s Summer of Love",
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"content": "\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13310178']Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\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>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\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>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I can’t go one week without watching a horror film.\u003c/p>\n\u003cp>I’m really into horror, whether it’s books or films. At age 12 my girlfriends were living by Judy Blume, but I was reading Stephen King thrillers for the second time.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The first time I got detention in high school was for reading Clive Barker’s \u003cem>The Damnation Game \u003c/em>instead of the assigned book\u003cem>.\u003c/em> I thought I was slick too, sliding my newest horror book into my looseleaf notebook. I was so engrossed that I gasped in the middle of class, much to the dismay of my classmates and teacher. It was sort of hilarious. He took my book and handed me detention. I learned that he was a horror fan, and we chatted about our favorite authors. He ended up reading my book during detention and thanked me for turning him on to someone new.\u003c/p>\n\u003cp>My taste in films runs the gamut with classics like \u003cem>The Texas Chainsaw Massacre\u003c/em> and \u003cem>The Shining\u003c/em> to found footage films like \u003cem>Butterfly Kisses \u003c/em>and\u003cem> The Lost Footage of Leah Sullivan\u003c/em>. For the former, I cower in fear while enjoying the adrenaline rush. For the latter, I sometimes have fantasies of tossing my television through my living room window for wasting 75 to 90 minutes of my life. But yet I consistently (and dare I say, obsessively) want more.\u003c/p>\n\u003cp>My love of all things horror started when my mom let me read her “spooky books” (her endearing term for horror novels).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I waited with bated breath for my mom to finish her latest spooky read, because I knew that I got it next. I’d insert myself into this fictional world of monsters and demons living in terror to turn the next page. My mother read \u003cem>The Exorcist \u003c/em>by William Peter Blatty, and it definitely spooked her. I developed the courage to read it years later, then saw the movie against her wishes. It was the scariest movie I’ve ever watched to this day, and the only horror film I refuse to rewatch.\u003c/p>\n\u003ch3>Escaping a real-life monster\u003c/h3>\n\u003cfigure id=\"attachment_13921104\" class=\"wp-caption alignright\" style=\"max-width: 313px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe\" alt=\"A middle-aged Black woman helps a younger smiling Black woman put on a white prom-style dress.\" width=\"313\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40-160x213.jpe 160w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003cfigcaption class=\"wp-caption-text\">Prom night, 1990. We watched ‘Re-Animator’ when I got home. \u003ccite>(Nikki Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me years to fully realize why my mother loved those spooky books so much. Those horror stories gave my mother the courage to leave her abuser.\u003c/p>\n\u003cp>While my mother was putting on a brave face, she was dealing with her very own monster. I believe that her escapism into the horror genre allowed her to face her reality within a controlled environment.\u003c/p>\n\u003cp>She knew that her life wasn’t in danger when she read these books. Her empathy toward the characters being chased by monsters and possessed by demons, and the happy ending (well, sometimes) for these protagonists, is what I believe allowed her to think that she too can escape the monster on his way home from work, and have a happy ending.\u003c/p>\n\u003cp>My mother found her strength through reading these books. She built courage, faced her fear, and learned to fight. It was a form of catharsis for her. Purge and purification. The purging of her negative emotions like fear, anxiety, and low self-esteem. The purification of her newfound emotions of bravery, needing to annihilate her monster.\u003c/p>\n\u003ch3>Where my love of horror films began\u003c/h3>\n\u003cp>Novelists like Clive Barker and Stephen King dominated our little bookshelves, but it was a book by Jeffrey Konvitz that tilted me on my axis. \u003cem>The Sentinel\u003c/em> was written in 1977. I remember my mother hiding it in the freezer because she didn’t want me to read it. Of course I saw this as a challenge. Unfortunately, I did not get a chance to read that book until I was an adult. However, I did something much worse: I saw the movie. And that, dear reader, is where my love for 1970s and ‘80s horror films began.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0YdJNeNXLE\u003c/p>\n\u003cp>This movie has everything: big movie stars like Cristina Raines, Burgess Meredith, Ava Gardner, Chris Sarandon and an adorably young Beverly D’Angelo. It had supermodels, penthouse apartments overlooking Central Park and a blind priest. And it had demons, both metaphorical and physical. This movie scared the bejesus out of me. And I wanted more.\u003c/p>\n\u003cp>In the days before streaming, you would visit video stores to rent your movies. We had Blockbuster, Erol’s Video and a ton of mom and pop shops. Every Friday, my mother and I would hit up these video stores for the best horror VHS tapes. She introduced me to movies like \u003cem>Ghost Story, Amityville Horror, Re-Animator, The Evil Dead \u003c/em>and so much more\u003cem>. \u003c/em>\u003c/p>\n\u003ch3>Passing down a love of horror\u003c/h3>\n\u003cp>I still watch these movies, typically in the early morning on the weekends while my husband and daughter are still sleeping. I think about my mother and feel a sense of calm and peace. I remember Bruce Campbell bringing her to tears through her laughter in \u003cem>The Evil Dead. \u003c/em>When it’s snowing outside, I’ll watch \u003cem>Ghost Story,\u003c/em> because she and I both loved the beauty of the snow in the film.\u003c/p>\n\u003cp>[aside postid='pop_109009']There are newer films that I’ve grown to love and/or respect — almost anything made by A24, Ari Aster, Blumhouse and Jordan Peele. Foreign horror, absolutely! IFC Midnight, holy smokes!\u003c/p>\n\u003cp>When I watch these newer films, I think about her reactions if she were alive today. I believe that my mother would be the biggest Jordan Peele fan because of \u003cem>Us. \u003c/em>She’d probably check out \u003cem>Hereditary \u003c/em>twice. \u003cem>Speak No Evil\u003c/em> would leave her speechless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My mother passed down her love of horror to me. These books and films gave her courage, and she wanted me to live courageously. In her eyes, this genre would help her help me to be the strong and independent woman that I am today. She was right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=My+mom+passed+down+her+love+of+horror+to+me+%E2%80%94+and+a+big+lesson+about+courage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first time I got detention in high school was for reading Clive Barker’s \u003cem>The Damnation Game \u003c/em>instead of the assigned book\u003cem>.\u003c/em> I thought I was slick too, sliding my newest horror book into my looseleaf notebook. I was so engrossed that I gasped in the middle of class, much to the dismay of my classmates and teacher. It was sort of hilarious. He took my book and handed me detention. I learned that he was a horror fan, and we chatted about our favorite authors. He ended up reading my book during detention and thanked me for turning him on to someone new.\u003c/p>\n\u003cp>My taste in films runs the gamut with classics like \u003cem>The Texas Chainsaw Massacre\u003c/em> and \u003cem>The Shining\u003c/em> to found footage films like \u003cem>Butterfly Kisses \u003c/em>and\u003cem> The Lost Footage of Leah Sullivan\u003c/em>. For the former, I cower in fear while enjoying the adrenaline rush. For the latter, I sometimes have fantasies of tossing my television through my living room window for wasting 75 to 90 minutes of my life. But yet I consistently (and dare I say, obsessively) want more.\u003c/p>\n\u003cp>My love of all things horror started when my mom let me read her “spooky books” (her endearing term for horror novels).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I waited with bated breath for my mom to finish her latest spooky read, because I knew that I got it next. I’d insert myself into this fictional world of monsters and demons living in terror to turn the next page. My mother read \u003cem>The Exorcist \u003c/em>by William Peter Blatty, and it definitely spooked her. I developed the courage to read it years later, then saw the movie against her wishes. It was the scariest movie I’ve ever watched to this day, and the only horror film I refuse to rewatch.\u003c/p>\n\u003ch3>Escaping a real-life monster\u003c/h3>\n\u003cfigure id=\"attachment_13921104\" class=\"wp-caption alignright\" style=\"max-width: 313px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe\" alt=\"A middle-aged Black woman helps a younger smiling Black woman put on a white prom-style dress.\" width=\"313\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40.jpe 313w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/prom-night_vert-f6caba0a74f5edf1ab2dbb15344573c6a33daa40-160x213.jpe 160w\" sizes=\"(max-width: 313px) 100vw, 313px\">\u003cfigcaption class=\"wp-caption-text\">Prom night, 1990. We watched ‘Re-Animator’ when I got home. \u003ccite>(Nikki Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me years to fully realize why my mother loved those spooky books so much. Those horror stories gave my mother the courage to leave her abuser.\u003c/p>\n\u003cp>While my mother was putting on a brave face, she was dealing with her very own monster. I believe that her escapism into the horror genre allowed her to face her reality within a controlled environment.\u003c/p>\n\u003cp>She knew that her life wasn’t in danger when she read these books. Her empathy toward the characters being chased by monsters and possessed by demons, and the happy ending (well, sometimes) for these protagonists, is what I believe allowed her to think that she too can escape the monster on his way home from work, and have a happy ending.\u003c/p>\n\u003cp>My mother found her strength through reading these books. She built courage, faced her fear, and learned to fight. It was a form of catharsis for her. Purge and purification. The purging of her negative emotions like fear, anxiety, and low self-esteem. The purification of her newfound emotions of bravery, needing to annihilate her monster.\u003c/p>\n\u003ch3>Where my love of horror films began\u003c/h3>\n\u003cp>Novelists like Clive Barker and Stephen King dominated our little bookshelves, but it was a book by Jeffrey Konvitz that tilted me on my axis. \u003cem>The Sentinel\u003c/em> was written in 1977. I remember my mother hiding it in the freezer because she didn’t want me to read it. Of course I saw this as a challenge. Unfortunately, I did not get a chance to read that book until I was an adult. However, I did something much worse: I saw the movie. And that, dear reader, is where my love for 1970s and ‘80s horror films began.\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/Z0YdJNeNXLE'\n title='//www.youtube.com/embed/Z0YdJNeNXLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This movie has everything: big movie stars like Cristina Raines, Burgess Meredith, Ava Gardner, Chris Sarandon and an adorably young Beverly D’Angelo. It had supermodels, penthouse apartments overlooking Central Park and a blind priest. And it had demons, both metaphorical and physical. This movie scared the bejesus out of me. And I wanted more.\u003c/p>\n\u003cp>In the days before streaming, you would visit video stores to rent your movies. We had Blockbuster, Erol’s Video and a ton of mom and pop shops. Every Friday, my mother and I would hit up these video stores for the best horror VHS tapes. She introduced me to movies like \u003cem>Ghost Story, Amityville Horror, Re-Animator, The Evil Dead \u003c/em>and so much more\u003cem>. \u003c/em>\u003c/p>\n\u003ch3>Passing down a love of horror\u003c/h3>\n\u003cp>I still watch these movies, typically in the early morning on the weekends while my husband and daughter are still sleeping. I think about my mother and feel a sense of calm and peace. I remember Bruce Campbell bringing her to tears through her laughter in \u003cem>The Evil Dead. \u003c/em>When it’s snowing outside, I’ll watch \u003cem>Ghost Story,\u003c/em> because she and I both loved the beauty of the snow in the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are newer films that I’ve grown to love and/or respect — almost anything made by A24, Ari Aster, Blumhouse and Jordan Peele. Foreign horror, absolutely! IFC Midnight, holy smokes!\u003c/p>\n\u003cp>When I watch these newer films, I think about her reactions if she were alive today. I believe that my mother would be the biggest Jordan Peele fan because of \u003cem>Us. \u003c/em>She’d probably check out \u003cem>Hereditary \u003c/em>twice. \u003cem>Speak No Evil\u003c/em> would leave her speechless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My mother passed down her love of horror to me. These books and films gave her courage, and she wanted me to live courageously. In her eyes, this genre would help her help me to be the strong and independent woman that I am today. She was right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=My+mom+passed+down+her+love+of+horror+to+me+%E2%80%94+and+a+big+lesson+about+courage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are plenty of cockroaches in New York City, but at R.L. Stine’s house, you’ll find a 3 foot one.\u003c/p>\n\u003cp>OK, not an actual roach. It was just one of the many horror-based knick knacks lying around his office, which was filled with \u003cem>Goosebumps\u003c/em> lunchboxes and dolls and, of course, books.\u003c/p>\n\u003cp>[aside postid='arts_13888122']Was that slight mis-direct about the roach kind of cheap? An easy way to (hopefully) hook a reader? Absolutely. But it’s the kind of thing that Stine has built his career on — cheap tricks and teases. “\u003cem>Goosebumps\u003c/em> is mostly teases,” he says.\u003c/p>\n\u003cp>“I don’t really want to terrify kids. It’s not what I really want. If I think a scene is getting too scary, too intense, I throw in something funny.”\u003c/p>\n\u003cp>Stine’s mega-popular kids book series \u003cem>Goosebumps\u003c/em> turns 30 this year. It’s a franchise that’s spawned TV shows, movies and even more books. And even if its popularity has waned in recent years (“I don’t have the same sales as the ‘90s. We \u003cem>love\u003c/em> the ‘90s,” he says), the series continues to have its hooks, tentacles, or some other creepy tendrils around fans today.\u003c/p>\n\u003ch3>Coming to terms with becoming nostalgia\u003c/h3>\n\u003cfigure id=\"attachment_13921089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0129-988d40ff0578e23bcbd1d718385f8f16173c5071-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bookshelves are filled with ‘Goosebumps’ books and fun-filled knick knacks in Stine’s home. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stine is celebrating the anniversary with a \u003ca href=\"https://us.macmillan.com/books/9781250836267/stinetinglers\">couple of\u003c/a> \u003ca href=\"https://shop.scholastic.com/parent-ecommerce/books/goosebumps-slappy-beware-9781338847079.html\">new books\u003c/a> and a handful of appearances. When we met, he was fresh from an appearance at New York City Comic Con, meeting and greeting a hoard of fans, and he was getting ready to appear at the Library of Congress to take questions from children. In a way, Stine is in a sweet spot with his audience — his original fan base is now old enough to be sharing \u003cem>Goosebumps\u003c/em> with their own kids. “You get old. That’s a tough pill to swallow,” he says. “Terrible. But what a thrill. I get to scare a lot of generations, don’t I?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stine is originally from Ohio. He moved to New York with big dreams of becoming a writer — just not the type of writer he became. He started out as a humorist, editing a kids magazine at Scholastic. One day in the ‘80s, he was having lunch with his friend Jean Feiwel, who was also an editor at Scholastic. She was supposed to be working on a horror book for teens called \u003cem>Blind Date\u003c/em>, but the author had just dropped out. Desperate, she told Stine that \u003cem>he\u003c/em> could write a horror novel for teenagers.\u003c/p>\n\u003cp>“I didn’t know what she was talking about,” he says. “‘What’s a horror novel for teenagers?’”\u003c/p>\n\u003cp>“I was on a timeline,” recalls Feiwel. “I said ‘You know, like any blind date, it could turn horrific, so I’m sure you could find the horror in it. And the humor in it.’”\u003c/p>\n\u003cp>Stine ran to a nearby bookstore and picked up anyone who was writing teen horror — Christopher Pike, Lois Duncan. He was a quick study. Feiwel guesses that he got the book written in about a week: “And I said, ‘Oh my God, you’ve got a whole new career here.’”\u003c/p>\n\u003ch3>What the first ‘Goosebumps’ book got wrong\u003c/h3>\n\u003cfigure id=\"attachment_13921088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0093_custom-a29d47b5ea29b5110b5fd9b30dc3dc2ec9ecaea9-800x599.jpg\" alt=\"A senior gentleman, dressed in all black and wearing spectacles, sits in an armchair next to a life-size skeleton. Behind him are packed bookshelves and a window.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Horror author R.L. Stine sits next to a skeleton in his home in New York City. Stine’s mega-popular kids book series ‘Goosebumps’ turns 30 this year. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Blind Date\u003c/em> worked for teenagers, Stine shifted to writing a series for younger kids, at an age range book industry people call “middle grade.” The first \u003cem>Goosebumps\u003c/em> book\u003cem> Welcome to Dead House\u003c/em> was published in 1992. It’s about a family who moves into a creaky old house in a small town. Early on, Amanda has to go out looking for her brother, who’s gone missing. She finds him in a graveyard, of course.\u003c/p>\n\u003cblockquote>\u003cp>I stepped down from the car, took a few steps onto the grass and called to him. At first he didn’t react to my shouts. He seemed to be ducking and dodging through the tombstones. He would run in one direction, then cut to the side, then head in another direction.\u003c/p>\n\u003cp>Why was he doing that?\u003c/p>\n\u003cp>I took another few steps — and then stopped, gripped with fear.\u003c/p>\n\u003cp>I suddenly realized why Josh was darting and ducking like that, running so wildly through the tombstones. He was being chased.\u003c/p>\n\u003cp>Someone or — something — was after him.\u003c/p>\u003c/blockquote>\n\u003cp>Stine now says he thinks this book is actually too scary — he hadn’t quite nailed down the balance between funny and frightful — but it had an effect on lots of young readers, like India Hill Brown. “I remember reading it as a kid, it was so scary,” says Brown. “And I remember reading it as an adult, it was so scary,” she laughs.\u003c/p>\n\u003cp>Brown \u003ca href=\"https://indiahillbrown.com/\">is the author\u003c/a> of two horror books for kids — \u003cem>The Forgotten Girl\u003c/em> and \u003cem>The Girl in the Lake\u003c/em>. She’d actually returned to \u003cem>Welcome to Dead House\u003c/em> when working on her first book, during a rough patch of writer’s block. It helped her focus on “what made me love middle grade horror.”\u003c/p>\n\u003cp>[aside postid='arts_13901163']It’s an interesting age, before you’ve realized that growing up is kind of awful. You’re on the precipice of not wanting to be a kid anymore — which is why \u003cem>Goosebumps\u003c/em> protagonists tend to be 12 years old — just a little older than the target age range. You want to have a little independence, a touch of agency, but also feel safe. “My one rule for writing for 7 to 11 year olds is they can’t think it’s going to be real. They have to know it’s a fantasy. And then I can go pretty far with the scares,” says Stine.\u003c/p>\n\u003cp>It took a while for the \u003cem>Goosebumps\u003c/em> hype train to take off, but when it did, it hit big. It inspired a kids TV show, merch and — to a certain type of superfan — the books themselves became collectables.\u003c/p>\n\u003cp>“I remember scouring bookstores each month when the next \u003cem>Goosebumps\u003c/em> was supposed to come out,” superfan Brian Stelter tells me.\u003c/p>\n\u003cp>Stelter is best known for being the former chief media correspondent for CNN and host of the show \u003cem>Reliable Sources\u003c/em>, but in the world of \u003cem>Goosebumps\u003c/em> he’s famous for having created the fansite \u003ca href=\"https://web.archive.org/web/19980504145909/http://thebumps.com:80/\">The Bumps\u003c/a>. It wasn’t just any \u003cem>Goosebumps\u003c/em> fansite: Stelter, slightly biased, called it the “number one unofficial \u003cem>Goosebumps\u003c/em> website.” To Stelter, the fact that he had competition online shows the power and reach of Stine’s books. “There were all these websites, including my own, that were \u003cem>obsessed\u003c/em> with his creations and wanting to talk and share even more about them.”\u003c/p>\n\u003cp>Feiwel, the former Scholastic editor, said with \u003cem>Goosebumps\u003c/em>, Stine pulled off a spectacular feat. Nobody back then was writing horror for middle grade kids. And Stine got them — boys in particular — reading.\u003c/p>\n\u003ch3>When parents tried to ban ‘Goosebumps’\u003c/h3>\n\u003cfigure id=\"attachment_13921090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg\" alt=\"A pink and purple book cover decorated with a forboding haunted house.\" width=\"800\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-768x1121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1.jpg 822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first ‘Goosebumps’ book, ‘Welcome to Dead House,’ was published in 1992. \u003ccite>(Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1997, a small group of parents in a Minneapolis suburb tried to get \u003ca href=\"https://archive.mpr.org/stories/1997/01/15/goosebumpshearing-whether-ban-scary-books\">\u003cem>Goosebumps\u003c/em> pulled from elementary school libraries\u003c/a>. They claimed that the series wasn’t fostering healthy values in children, and that it was too scary. Stine chalked that up to parents who were just frightened by the covers, and didn’t actually read the books. The push to restrict the books eventually failed.\u003c/p>\n\u003cp>[aside postid='arts_13918019']“We had so much support from teachers, librarians and reading teachers who saw that kids really went for them,” says Stine. “It really helped us a lot back then. They were always right behind \u003cem>Goosebumps\u003c/em>.”\u003c/p>\n\u003cp>Now would be the part of the profile where I tie something Stine said to a bigger story going on in the news — like the \u003ca href=\"https://www.npr.org/2022/09/19/1123156201/new-report-finds-a-coordinated-rise-in-attempted-book-bans\">recent rash of book bannings\u003c/a>. Or maybe land on a tidy summation of Stine’s work that points to a deeper meaning — like how ‘Goosebumps\u003cem>,’\u003c/em> like all good horror, actually plays off deeper, eternal fears: Do my friends like me? Are my parents acting weird?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But \u003cem>Goosebumps\u003c/em>, for the past 30 years, has consistently, stubbornly, avoided deeper meanings or bigger lessons. In a way, those parents had a point. Stine wasn’t interested in teaching kids healthy values. He’s never been interested in teaching kids anything. Other than: Keep reading to find out what happens next.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Goosebumps%27+is+turning+30+%E2%80%94+the+scariest+part+is+how+old+that+makes+you&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are plenty of cockroaches in New York City, but at R.L. Stine’s house, you’ll find a 3 foot one.\u003c/p>\n\u003cp>OK, not an actual roach. It was just one of the many horror-based knick knacks lying around his office, which was filled with \u003cem>Goosebumps\u003c/em> lunchboxes and dolls and, of course, books.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Was that slight mis-direct about the roach kind of cheap? An easy way to (hopefully) hook a reader? Absolutely. But it’s the kind of thing that Stine has built his career on — cheap tricks and teases. “\u003cem>Goosebumps\u003c/em> is mostly teases,” he says.\u003c/p>\n\u003cp>“I don’t really want to terrify kids. It’s not what I really want. If I think a scene is getting too scary, too intense, I throw in something funny.”\u003c/p>\n\u003cp>Stine’s mega-popular kids book series \u003cem>Goosebumps\u003c/em> turns 30 this year. It’s a franchise that’s spawned TV shows, movies and even more books. And even if its popularity has waned in recent years (“I don’t have the same sales as the ‘90s. We \u003cem>love\u003c/em> the ‘90s,” he says), the series continues to have its hooks, tentacles, or some other creepy tendrils around fans today.\u003c/p>\n\u003ch3>Coming to terms with becoming nostalgia\u003c/h3>\n\u003cfigure id=\"attachment_13921089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0129-988d40ff0578e23bcbd1d718385f8f16173c5071-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bookshelves are filled with ‘Goosebumps’ books and fun-filled knick knacks in Stine’s home. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stine is celebrating the anniversary with a \u003ca href=\"https://us.macmillan.com/books/9781250836267/stinetinglers\">couple of\u003c/a> \u003ca href=\"https://shop.scholastic.com/parent-ecommerce/books/goosebumps-slappy-beware-9781338847079.html\">new books\u003c/a> and a handful of appearances. When we met, he was fresh from an appearance at New York City Comic Con, meeting and greeting a hoard of fans, and he was getting ready to appear at the Library of Congress to take questions from children. In a way, Stine is in a sweet spot with his audience — his original fan base is now old enough to be sharing \u003cem>Goosebumps\u003c/em> with their own kids. “You get old. That’s a tough pill to swallow,” he says. “Terrible. But what a thrill. I get to scare a lot of generations, don’t I?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stine is originally from Ohio. He moved to New York with big dreams of becoming a writer — just not the type of writer he became. He started out as a humorist, editing a kids magazine at Scholastic. One day in the ‘80s, he was having lunch with his friend Jean Feiwel, who was also an editor at Scholastic. She was supposed to be working on a horror book for teens called \u003cem>Blind Date\u003c/em>, but the author had just dropped out. Desperate, she told Stine that \u003cem>he\u003c/em> could write a horror novel for teenagers.\u003c/p>\n\u003cp>“I didn’t know what she was talking about,” he says. “‘What’s a horror novel for teenagers?’”\u003c/p>\n\u003cp>“I was on a timeline,” recalls Feiwel. “I said ‘You know, like any blind date, it could turn horrific, so I’m sure you could find the horror in it. And the humor in it.’”\u003c/p>\n\u003cp>Stine ran to a nearby bookstore and picked up anyone who was writing teen horror — Christopher Pike, Lois Duncan. He was a quick study. Feiwel guesses that he got the book written in about a week: “And I said, ‘Oh my God, you’ve got a whole new career here.’”\u003c/p>\n\u003ch3>What the first ‘Goosebumps’ book got wrong\u003c/h3>\n\u003cfigure id=\"attachment_13921088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rlstein_npr_0093_custom-a29d47b5ea29b5110b5fd9b30dc3dc2ec9ecaea9-800x599.jpg\" alt=\"A senior gentleman, dressed in all black and wearing spectacles, sits in an armchair next to a life-size skeleton. Behind him are packed bookshelves and a window.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Horror author R.L. Stine sits next to a skeleton in his home in New York City. Stine’s mega-popular kids book series ‘Goosebumps’ turns 30 this year. \u003ccite>(Christopher Gregory-Rivera for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Blind Date\u003c/em> worked for teenagers, Stine shifted to writing a series for younger kids, at an age range book industry people call “middle grade.” The first \u003cem>Goosebumps\u003c/em> book\u003cem> Welcome to Dead House\u003c/em> was published in 1992. It’s about a family who moves into a creaky old house in a small town. Early on, Amanda has to go out looking for her brother, who’s gone missing. She finds him in a graveyard, of course.\u003c/p>\n\u003cblockquote>\u003cp>I stepped down from the car, took a few steps onto the grass and called to him. At first he didn’t react to my shouts. He seemed to be ducking and dodging through the tombstones. He would run in one direction, then cut to the side, then head in another direction.\u003c/p>\n\u003cp>Why was he doing that?\u003c/p>\n\u003cp>I took another few steps — and then stopped, gripped with fear.\u003c/p>\n\u003cp>I suddenly realized why Josh was darting and ducking like that, running so wildly through the tombstones. He was being chased.\u003c/p>\n\u003cp>Someone or — something — was after him.\u003c/p>\u003c/blockquote>\n\u003cp>Stine now says he thinks this book is actually too scary — he hadn’t quite nailed down the balance between funny and frightful — but it had an effect on lots of young readers, like India Hill Brown. “I remember reading it as a kid, it was so scary,” says Brown. “And I remember reading it as an adult, it was so scary,” she laughs.\u003c/p>\n\u003cp>Brown \u003ca href=\"https://indiahillbrown.com/\">is the author\u003c/a> of two horror books for kids — \u003cem>The Forgotten Girl\u003c/em> and \u003cem>The Girl in the Lake\u003c/em>. She’d actually returned to \u003cem>Welcome to Dead House\u003c/em> when working on her first book, during a rough patch of writer’s block. It helped her focus on “what made me love middle grade horror.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an interesting age, before you’ve realized that growing up is kind of awful. You’re on the precipice of not wanting to be a kid anymore — which is why \u003cem>Goosebumps\u003c/em> protagonists tend to be 12 years old — just a little older than the target age range. You want to have a little independence, a touch of agency, but also feel safe. “My one rule for writing for 7 to 11 year olds is they can’t think it’s going to be real. They have to know it’s a fantasy. And then I can go pretty far with the scares,” says Stine.\u003c/p>\n\u003cp>It took a while for the \u003cem>Goosebumps\u003c/em> hype train to take off, but when it did, it hit big. It inspired a kids TV show, merch and — to a certain type of superfan — the books themselves became collectables.\u003c/p>\n\u003cp>“I remember scouring bookstores each month when the next \u003cem>Goosebumps\u003c/em> was supposed to come out,” superfan Brian Stelter tells me.\u003c/p>\n\u003cp>Stelter is best known for being the former chief media correspondent for CNN and host of the show \u003cem>Reliable Sources\u003c/em>, but in the world of \u003cem>Goosebumps\u003c/em> he’s famous for having created the fansite \u003ca href=\"https://web.archive.org/web/19980504145909/http://thebumps.com:80/\">The Bumps\u003c/a>. It wasn’t just any \u003cem>Goosebumps\u003c/em> fansite: Stelter, slightly biased, called it the “number one unofficial \u003cem>Goosebumps\u003c/em> website.” To Stelter, the fact that he had competition online shows the power and reach of Stine’s books. “There were all these websites, including my own, that were \u003cem>obsessed\u003c/em> with his creations and wanting to talk and share even more about them.”\u003c/p>\n\u003cp>Feiwel, the former Scholastic editor, said with \u003cem>Goosebumps\u003c/em>, Stine pulled off a spectacular feat. Nobody back then was writing horror for middle grade kids. And Stine got them — boys in particular — reading.\u003c/p>\n\u003ch3>When parents tried to ban ‘Goosebumps’\u003c/h3>\n\u003cfigure id=\"attachment_13921090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg\" alt=\"A pink and purple book cover decorated with a forboding haunted house.\" width=\"800\" height=\"1168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-800x1168.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1-768x1121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/gb-welcometodeadhouse_custom-7cbce1a4b868fe9f3205d288b3300ab3ee1e1cf1.jpg 822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first ‘Goosebumps’ book, ‘Welcome to Dead House,’ was published in 1992. \u003ccite>(Scholastic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1997, a small group of parents in a Minneapolis suburb tried to get \u003ca href=\"https://archive.mpr.org/stories/1997/01/15/goosebumpshearing-whether-ban-scary-books\">\u003cem>Goosebumps\u003c/em> pulled from elementary school libraries\u003c/a>. They claimed that the series wasn’t fostering healthy values in children, and that it was too scary. Stine chalked that up to parents who were just frightened by the covers, and didn’t actually read the books. The push to restrict the books eventually failed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We had so much support from teachers, librarians and reading teachers who saw that kids really went for them,” says Stine. “It really helped us a lot back then. They were always right behind \u003cem>Goosebumps\u003c/em>.”\u003c/p>\n\u003cp>Now would be the part of the profile where I tie something Stine said to a bigger story going on in the news — like the \u003ca href=\"https://www.npr.org/2022/09/19/1123156201/new-report-finds-a-coordinated-rise-in-attempted-book-bans\">recent rash of book bannings\u003c/a>. Or maybe land on a tidy summation of Stine’s work that points to a deeper meaning — like how ‘Goosebumps\u003cem>,’\u003c/em> like all good horror, actually plays off deeper, eternal fears: Do my friends like me? Are my parents acting weird?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Goosebumps\u003c/em>, for the past 30 years, has consistently, stubbornly, avoided deeper meanings or bigger lessons. In a way, those parents had a point. Stine wasn’t interested in teaching kids healthy values. He’s never been interested in teaching kids anything. Other than: Keep reading to find out what happens next.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Goosebumps%27+is+turning+30+%E2%80%94+the+scariest+part+is+how+old+that+makes+you&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Louis Armstrong made his first transatlantic voyage in July of 1932, sailing from New York City to Plymouth, England, aboard the ocean liner RMS Majestic. This was a triumphant visit for Armstrong, whose bravura feats as a trumpeter and rugged ebullience as a singer had already made him a sensation on both sides of the pond. But while the British tour is one of many pivotal events in\u003ca href=\"https://www.apple.com/tv-pr/originals/louis-armstrongs-black-blues/\"> \u003cem>Louis Armstrong’s Black & Blues\u003c/em>\u003c/a>\u003cem>, \u003c/em>a revelatory new documentary out Friday on Apple TV+, its inclusion is most striking for the glimpse we get \u003cem>behind\u003c/em> the curtain, where Satchmo allows his famous grin to constrict into a scowl.\u003c/p>\n\u003cp>[aside postid='arts_13912108']His manager at the time was a potbellied white gangster named Johnny Collins, who wasted little on social niceties. The exploitative tilt of their working relationship was never a matter of public record — but the film, drawing extensively from Armstrong’s private recordings, shares audio of Armstrong recalling a furious confrontation on the ship, with language that’s jarring to hear in his iconic gravel-drawl. “I said, ‘Listen, c*********. You might be my manager, and you might be the biggest s***, and book me in the biggest places in the world,’” he says. ““But when I get out on that f***** stage with that horn and get in trouble, you can’t save me.’” When Collins retorts by invoking the N-word, Armstrong fights the urge to break a wine bottle over his head, in order to kill him. “But the first thing I thought,” he says, “[was] all them Black c********** in Harlem who’d say: \u003cem>I knew he would blow his top someday\u003c/em>.”\u003c/p>\n\u003cp>There’s so much straining beneath the surface of this moment: the stark indignity and mortal risk faced by even the elite African American entertainers of the day; the fraught prospect of a white protector, with all the attendant imbalances of power; the notion of a mask, and what it means to vent freely without one; the sporting interest of a community, or at least a constituency, taking their bets as the pressure builds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o5jbSeBHVTQ&t=80s\u003c/p>\n\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>is brilliantly steeped in these considerations — tracing them from the artist’s rough childhood in New Orleans to his pop culture transcendence, to his life as a neighborhood fixture in Corona, Queens. His modest brick home three is now the\u003ca href=\"https://www.louisarmstronghouse.org/\"> Louis Armstrong House Museum\u003c/a>, which maintains a trove of scrapbooks, home recordings and other archival treasures that made this film possible. (Ricky Riccardi, Director of Research Collections at the museum, is credited as a consulting producer.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sacha Jenkins, the film’s director, hails from Queens himself. So does the narrator he enlists to portray Armstrong in voiceover, the rapper Nas. Hip-hop is the cultural frame through which Jenkins approached this project — he’s the CCO of\u003ca href=\"https://massappeal.com/\"> Mass Appeal\u003c/a> and has made previous documentaries about \u003ca href=\"https://www.npr.org/artists/16318054/rick-james\">Rick James\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a> — and that influence can be felt in the film’s stylish visual flow as well as the frankness of its racial disquisition.\u003c/p>\n\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the film to unpack what made Armstrong such an incandescent jazz pioneer, though it allows a few noted experts, like Wynton Marsalis, to rhapsodize about his music. What the documentary does instead, with focus and flair, is explore Armstrong’s multifaceted experience as a Black American musician who came of age right along with the 20th century, enduring the worst and somehow embodying the best.\u003c/p>\n\u003cp>[aside postid='arts_13916363']The academic field of jazz studies has long apprehended Armstrong as a richly layered subject, possessed of more agency and ambiguity than his popular reputation would suggest. More than any other film that addresses his legacy, this one manages a similar depth of field. “Pops, he faced a lot of challenges, and he always faced them with style and maintained his sanity and his joy and his embrace of life,” attests Marsalis in the film. “And it was not a simpleminded happiness. It was a transcendent joy.”\u003c/p>\n\u003cp>So much of the archival material assembled by Jenkins and his team — notably the vibrant footage of Armstrong with his wife Lucille, in the harbor of their home or as far afield as Ghana (on a 1956 tour) — aligns with this characterization. But there’s also a strong subtext of critique that the film addresses in earnest, by revisiting a common complaint that Satchmo’s style reeked of “Uncle Tom” subservience.\u003c/p>\n\u003cp>It’s a perspective birthed out of the civil rights movement and an ensuing era of Black pride, though the film demonstrates how engaged Armstrong was in the cause — often from a pragmatic position behind the scenes but sometimes in an utterly exposed position along its front lines. We get to witness the dissonance of a time when Armstrong is being sent across the world by the U.S. State Department, even as white supremacy is rearing its head back home. Time and again, we see his guarded composure in the company of white interviewers, set against the exasperation of candid moments among friends or in the solitude of his study.\u003c/p>\n\u003cp>Hardly any of the film’s insightful commentators — old Armstrong associates like guitarist and banjoist Danny Barker, trusted advocates like journalist Dan Morgenstern and photographer Jack Bradley, Black cultural critics as ideologically distinct as Amiri Baraka and Stanley Crouch — ever appear on screen. That decision sharpens the focus on the archival photographs and scrapbook collages that Jenkins chooses to feature. It also heightens the power of the footage he does include, whether from concert films, home movies or clips from \u003cem>The Mike Douglas Show, The Danny Kaye Show\u003c/em> and the 1980s PBS series \u003cem>With Ossie and Ruby.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ILFTWqYSMxg\u003c/p>\n\u003cp>In that last scrap of footage, actor Ossie Davis recalls his own youthful ridicule of Armstrong’s onstage image — “sweat poppin’, eyes buggin’, mouth wide open, grinnin’ oh my Lord from ear to ear” — and then describes the moment he came around. He’d been cast alongside Armstrong in the 1966 Sammy Davis Jr. vehicle \u003cem>A Man Called Adam, \u003c/em>and spotted Pops in an unguarded moment on set, with a lonesome and faraway look on his face. “I never laughed at Louis after that,” Ossie Davis says gravely. “For beneath that gravel voice and that shuffle — under all that mouth, with more teeth than a piano had keys — was a horn that could kill a man.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The admission lands with force, because of the way that Jenkins has set the stakes in the film. Armstrong was a titan who never forgot his humble upbringings, and also a public figure who carefully assessed his own weight in the world. He kept a history of slights and injustices in his back pocket, like anybody else. He strove toward a universal message with his music, while preserving the particularities that shaped his language. \u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the only valuable resource for those looking to understand him and it certainly won’t be the last. But it’s a gripping and essential addition to the historical record, precisely because it creates a space for Armstrong that can only ever be as complex and unresolved as America itself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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+gripping+%27Louis+Armstrong%27s+Black+%26+Blues%27+confronts+the+artist%27s+complexities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Louis Armstrong made his first transatlantic voyage in July of 1932, sailing from New York City to Plymouth, England, aboard the ocean liner RMS Majestic. This was a triumphant visit for Armstrong, whose bravura feats as a trumpeter and rugged ebullience as a singer had already made him a sensation on both sides of the pond. But while the British tour is one of many pivotal events in\u003ca href=\"https://www.apple.com/tv-pr/originals/louis-armstrongs-black-blues/\"> \u003cem>Louis Armstrong’s Black & Blues\u003c/em>\u003c/a>\u003cem>, \u003c/em>a revelatory new documentary out Friday on Apple TV+, its inclusion is most striking for the glimpse we get \u003cem>behind\u003c/em> the curtain, where Satchmo allows his famous grin to constrict into a scowl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His manager at the time was a potbellied white gangster named Johnny Collins, who wasted little on social niceties. The exploitative tilt of their working relationship was never a matter of public record — but the film, drawing extensively from Armstrong’s private recordings, shares audio of Armstrong recalling a furious confrontation on the ship, with language that’s jarring to hear in his iconic gravel-drawl. “I said, ‘Listen, c*********. You might be my manager, and you might be the biggest s***, and book me in the biggest places in the world,’” he says. ““But when I get out on that f***** stage with that horn and get in trouble, you can’t save me.’” When Collins retorts by invoking the N-word, Armstrong fights the urge to break a wine bottle over his head, in order to kill him. “But the first thing I thought,” he says, “[was] all them Black c********** in Harlem who’d say: \u003cem>I knew he would blow his top someday\u003c/em>.”\u003c/p>\n\u003cp>There’s so much straining beneath the surface of this moment: the stark indignity and mortal risk faced by even the elite African American entertainers of the day; the fraught prospect of a white protector, with all the attendant imbalances of power; the notion of a mask, and what it means to vent freely without one; the sporting interest of a community, or at least a constituency, taking their bets as the pressure builds.\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/o5jbSeBHVTQ'\n title='//www.youtube.com/embed/o5jbSeBHVTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>is brilliantly steeped in these considerations — tracing them from the artist’s rough childhood in New Orleans to his pop culture transcendence, to his life as a neighborhood fixture in Corona, Queens. His modest brick home three is now the\u003ca href=\"https://www.louisarmstronghouse.org/\"> Louis Armstrong House Museum\u003c/a>, which maintains a trove of scrapbooks, home recordings and other archival treasures that made this film possible. (Ricky Riccardi, Director of Research Collections at the museum, is credited as a consulting producer.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sacha Jenkins, the film’s director, hails from Queens himself. So does the narrator he enlists to portray Armstrong in voiceover, the rapper Nas. Hip-hop is the cultural frame through which Jenkins approached this project — he’s the CCO of\u003ca href=\"https://massappeal.com/\"> Mass Appeal\u003c/a> and has made previous documentaries about \u003ca href=\"https://www.npr.org/artists/16318054/rick-james\">Rick James\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a> — and that influence can be felt in the film’s stylish visual flow as well as the frankness of its racial disquisition.\u003c/p>\n\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the film to unpack what made Armstrong such an incandescent jazz pioneer, though it allows a few noted experts, like Wynton Marsalis, to rhapsodize about his music. What the documentary does instead, with focus and flair, is explore Armstrong’s multifaceted experience as a Black American musician who came of age right along with the 20th century, enduring the worst and somehow embodying the best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The academic field of jazz studies has long apprehended Armstrong as a richly layered subject, possessed of more agency and ambiguity than his popular reputation would suggest. More than any other film that addresses his legacy, this one manages a similar depth of field. “Pops, he faced a lot of challenges, and he always faced them with style and maintained his sanity and his joy and his embrace of life,” attests Marsalis in the film. “And it was not a simpleminded happiness. It was a transcendent joy.”\u003c/p>\n\u003cp>So much of the archival material assembled by Jenkins and his team — notably the vibrant footage of Armstrong with his wife Lucille, in the harbor of their home or as far afield as Ghana (on a 1956 tour) — aligns with this characterization. But there’s also a strong subtext of critique that the film addresses in earnest, by revisiting a common complaint that Satchmo’s style reeked of “Uncle Tom” subservience.\u003c/p>\n\u003cp>It’s a perspective birthed out of the civil rights movement and an ensuing era of Black pride, though the film demonstrates how engaged Armstrong was in the cause — often from a pragmatic position behind the scenes but sometimes in an utterly exposed position along its front lines. We get to witness the dissonance of a time when Armstrong is being sent across the world by the U.S. State Department, even as white supremacy is rearing its head back home. Time and again, we see his guarded composure in the company of white interviewers, set against the exasperation of candid moments among friends or in the solitude of his study.\u003c/p>\n\u003cp>Hardly any of the film’s insightful commentators — old Armstrong associates like guitarist and banjoist Danny Barker, trusted advocates like journalist Dan Morgenstern and photographer Jack Bradley, Black cultural critics as ideologically distinct as Amiri Baraka and Stanley Crouch — ever appear on screen. That decision sharpens the focus on the archival photographs and scrapbook collages that Jenkins chooses to feature. It also heightens the power of the footage he does include, whether from concert films, home movies or clips from \u003cem>The Mike Douglas Show, The Danny Kaye Show\u003c/em> and the 1980s PBS series \u003cem>With Ossie and Ruby.\u003c/em>\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/ILFTWqYSMxg'\n title='//www.youtube.com/embed/ILFTWqYSMxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In that last scrap of footage, actor Ossie Davis recalls his own youthful ridicule of Armstrong’s onstage image — “sweat poppin’, eyes buggin’, mouth wide open, grinnin’ oh my Lord from ear to ear” — and then describes the moment he came around. He’d been cast alongside Armstrong in the 1966 Sammy Davis Jr. vehicle \u003cem>A Man Called Adam, \u003c/em>and spotted Pops in an unguarded moment on set, with a lonesome and faraway look on his face. “I never laughed at Louis after that,” Ossie Davis says gravely. “For beneath that gravel voice and that shuffle — under all that mouth, with more teeth than a piano had keys — was a horn that could kill a man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The admission lands with force, because of the way that Jenkins has set the stakes in the film. Armstrong was a titan who never forgot his humble upbringings, and also a public figure who carefully assessed his own weight in the world. He kept a history of slights and injustices in his back pocket, like anybody else. He strove toward a universal message with his music, while preserving the particularities that shaped his language. \u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the only valuable resource for those looking to understand him and it certainly won’t be the last. But it’s a gripping and essential addition to the historical record, precisely because it creates a space for Armstrong that can only ever be as complex and unresolved as America itself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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+gripping+%27Louis+Armstrong%27s+Black+%26+Blues%27+confronts+the+artist%27s+complexities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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