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"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
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"title": "Meghan Markle Can't Win in the UK—and This Week Proved it",
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"content": "\u003cp>The U.K. found itself at a standstill throughout most of Monday, as Queen Elizabeth II’s funeral took place at Westminster Abbey in London. And there was a \u003cem>lot\u003c/em> of hullaballoo surrounding the event that won’t make a lot of sense to Americans.\u003c/p>\n\u003cp>These include:\u003c/p>\n\u003cul>\n\u003cli>The public \u003ca href=\"https://www.bbc.com/news/av/uk-62949220\" target=\"_blank\" rel=\"noopener noreferrer\">standing in a 10-mile line for up to 24 hours\u003c/a>, just to spend mere seconds next to the queen’s coffin, lying in state\u003c/li>\n\u003cli>Hospitals \u003ca href=\"https://people.com/health/u-k-hospitals-canceling-non-urgent-appointments-due-to-the-queens-funeral-being-declared-a-holiday/\" target=\"_blank\" rel=\"noopener noreferrer\">canceling many “non-urgent” procedures\u003c/a> (including caesarean sections!) because of the funeral\u003c/li>\n\u003cli>Therapists—notoriously difficult to access within the U.K.’s public health system—postponing desperately awaited appointments for weeks at a time\u003c/li>\n\u003cli>The adoration granted to one of the queen’s ponies because, according to \u003cem>The Sun\u003c/em>, she “\u003ca href=\"https://www.thesun.co.uk/news/19854954/brits-tears-queens-favourite-pony-emma/\" target=\"_blank\" rel=\"noopener noreferrer\">lifted her leg as if in an attempt to curtsy as the Queen’s cortege passed\u003c/a>“\u003c/li>\n\u003cli>\u003ca href=\"https://www.theguardian.com/tv-and-radio/2022/sep/13/jokes-about-the-queens-death-cut-from-uk-version-of-last-week-tonight-with-john-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Week Tonight with John Oliver\u003c/em> being censored on U.K. television\u003c/a> for sarcastically referring to Elizabeth’s passing as “a shocking death of a 96-year-old woman from natural causes”\u003c/li>\n\u003cli>Television channels forgoing the broadcast of commercials on Monday in favor of a silent black screen\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13919285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/20220919_111530-800x614.jpg\" alt='A black screen with white text says: As a mark of respect to Her Majesty The Queen, we are not showing commercials across the Channel 4 network today. Programmes will continue shortly.\"' width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/20220919_111530-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/20220919_111530-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/20220919_111530-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/20220919_111530-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/20220919_111530.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What British television viewers saw instead of commercial breaks the day of Queen Elizabeth II’s funeral. \u003ccite>(Rania Adwan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most confounding aspects, however, is the way Meghan Markle has been put under a microscope by the press and public alike all week, despite not putting a foot wrong. The scrutiny is especially astounding when one considers how quietly Prince Andrew has been reintegrated into royal procedures.\u003c/p>\n\u003cp>[aside postid='arts_13908090']In case you need a refresher, Meghan Markle’s controversies include speaking out about racism within the royal ranks, suing a prominent British newspaper for invasion of privacy (and winning), and moving back to America with her husband for the sake of her mental health.\u003c/p>\n\u003cp>Prince Andrew, on the other hand, was \u003ca href=\"https://www.kqed.org/arts/13908090/prince-andrew-sexual-abuse-trial-virginia-giuffre-jeffrey-epstein-ghislaine-maxwell-queen-elizabeth\" target=\"_blank\" rel=\"noopener noreferrer\">stripped of his titles and removed from public duties\u003c/a> as he battled a sexual assault case brought by Virginia Giuffre. Giuffre has alleged for years that she was the victim of sex trafficking by Jeffrey Epstein and Ghislaine Maxwell, and forced to have sex with Prince Andrew at the age of 17. (Both Maxwell and Prince Andrew settled with Giuffre out of court; Andrew is reported to have avoided a trial by \u003ca href=\"https://time.com/6149123/prince-andrew-settlement-virginia-giuffre-royal-finances/\" target=\"_blank\" rel=\"noopener noreferrer\">paying her an estimated $16 million\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet, this week, as Andrew stepped back into the public eye, it’s Markle who has inspired the most scrutiny and criticism in the days leading up to the funeral.\u003c/p>\n\u003cp>For much of the U.K. media, coverage has been primarily concerned with presenting the remaining royal family members as putting on a united front out of respect for the queen. This means that both television and print media has actively avoided discussing Prince Andrew’s legal and reputational woes—except to report the arrest of a Scot who dared to heckle Andrew during a funereal procession in Edinburgh. (The 22-year-old was charged with breaching the peace after shouting, “Andrew! You’re a sick old man.”)\u003c/p>\n\u003cp>[aside postid='arts_13893693']Something more insidious is at play in the tabloids, however. Search the \u003cem>Daily Mail\u003c/em>‘s website for stories about Prince Andrew, and \u003ca href=\"https://www.dailymail.co.uk/home/search.html?sel=site&searchPhrase=prince+andrew\" target=\"_blank\" rel=\"noopener noreferrer\">general funeral coverage\u003c/a> pops up. Conduct the same search for Meghan Markle and, alongside that same funeral coverage, a wealth of other articles seek to paint her in a very specific (negative) light. There’s analysis of \u003ca href=\"https://www.dailymail.co.uk/news/article-11227181/Meghan-Markle-Prince-Harry-sit-second-row-Queens-funeral.html\" target=\"_blank\" rel=\"noopener noreferrer\">Markle crying at the funeral\u003c/a>, while Princess Kate is presented as “the picture of poise.” There are several stories about Markle and Harry being “uninvited” to a Buckingham Palace state reception. Worst of all, there are a series of articles bending over backwards to report other people’s criticisms of Markle. This serves as a clever way to paint Markle in a bad light without the \u003cem>Daily Mail\u003c/em>‘s writers being directly responsible for the nasty things being said.\u003c/p>\n\u003cp>This methodology has, in the last week, prompted the paper to publish articles with the following headlines:\u003c/p>\n\u003cul>\n\u003cli>“Australian senator brands Meghan Markle a ‘horrible human’ with a ‘terrible influence on Prince Harry’ and declares they are ‘awful, revolting people’ in an extraordinarily scathing live TV rant”\u003c/li>\n\u003cli>“Meghan’s new favorite magazine ‘The Cut’ launches vicious attack on father-in-law King Charles for being a ‘big, fussy baby and a jerk to his staff’ as he mourns loss of beloved mother, Queen Elizabeth II”\u003c/li>\n\u003cli>“‘They say the cause of death was Meghan Markle’s podcast’: Bill Maher takes a jab at Meghan’s Archetypes podcast”\u003c/li>\n\u003c/ul>\n\u003cp>No such secondhand coverage has been published on Andrew.\u003c/p>\n\u003cp>On Twitter, things for Markle were even worse. While Prince Andrew failed to make it into the top trending topics during his return to the spotlight, #GoHomeMeghanMarkle dominated the website on Sept. 12. The hashtag started after Markle accompanied Prince Harry, Prince William and Princess Kate to greet mourners in London. Had Markle not accompanied her husband in this task, she would likely have been accused of discarding the feelings of the British public and disrespecting the queen. Showing up and doing her duty unfortunately did not mean she fared any better.\u003c/p>\n\u003cp>While some of the gathered crowds (especially younger people) greeted Markle warmly that day, those that didn’t were praised online for giving her the cold shoulder.\u003c/p>\n\u003cp>https://twitter.com/heg_emon/status/1568899377175085056\u003c/p>\n\u003cp>https://twitter.com/furbabygirl/status/1568689504583819264\u003c/p>\n\u003cp>https://twitter.com/Edinbur53539054/status/1568668323004694530\u003c/p>\n\u003cp>Markle must have known in advance that she would be in a no-win situation as soon as she set foot on British soil. And she has sailed through the scrutiny with as much dignity as any human could possibly muster under the circumstances. What has been forgotten this week is that Markle and Harry were careful during their Oprah tell-all to paint Queen Elizabeth II in a very positive light. Also forgotten? The fact that they named their daughter after Elizabeth’s childhood nickname, Lilibet. It matters not. The damage in the U.K. is done and as far as the royal supporters there are concerned, Meghan Markle is and always will be a pariah.\u003c/p>\n\u003cp>[aside postid='arts_13866072']Though stateside the presumed cause of all this is racism, the real reasons behind the ostracizing of Markle are more complex. The color of her skin is undoubtedly a factor for some, yes—but so is her nationality. (Lest we forget that the last senior royal that married an American was \u003ca href=\"https://en.wikipedia.org/wiki/Edward_VIII\" target=\"_blank\" rel=\"noopener noreferrer\">forced to live in exile after abdicating the throne\u003c/a> in order to do so.) It’s OK for members of the British royal family to marry so-called “commoners.” But the commoners who marry in usually do so having been groomed to understand and revere every aspect of royal life. Markle had no such life-long training, and the royalists of Britain know (and resent) it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The truth of the matter is that the U.K. public is willing to live with royal overlords only so long as the people at the top of that hierarchy are willing to keep their mouths shut and play the game. Part of that game—as \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">every woman who’s ever married into the Windsor family\u003c/a> could tell you—is putting up with bullying from both the press and the public. Middleton, the new Princess of Wales, for example, endured a decade of mockery. She silently withstood that hardship and humiliation and is now talked about only in the most glowing of terms. She put her time in and she was rewarded. When Markle was unwilling to put up with such treatment—a hazing of sorts—her fate was sealed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Something more insidious is at play in the tabloids, however. Search the \u003cem>Daily Mail\u003c/em>‘s website for stories about Prince Andrew, and \u003ca href=\"https://www.dailymail.co.uk/home/search.html?sel=site&searchPhrase=prince+andrew\" target=\"_blank\" rel=\"noopener noreferrer\">general funeral coverage\u003c/a> pops up. Conduct the same search for Meghan Markle and, alongside that same funeral coverage, a wealth of other articles seek to paint her in a very specific (negative) light. There’s analysis of \u003ca href=\"https://www.dailymail.co.uk/news/article-11227181/Meghan-Markle-Prince-Harry-sit-second-row-Queens-funeral.html\" target=\"_blank\" rel=\"noopener noreferrer\">Markle crying at the funeral\u003c/a>, while Princess Kate is presented as “the picture of poise.” There are several stories about Markle and Harry being “uninvited” to a Buckingham Palace state reception. Worst of all, there are a series of articles bending over backwards to report other people’s criticisms of Markle. This serves as a clever way to paint Markle in a bad light without the \u003cem>Daily Mail\u003c/em>‘s writers being directly responsible for the nasty things being said.\u003c/p>\n\u003cp>This methodology has, in the last week, prompted the paper to publish articles with the following headlines:\u003c/p>\n\u003cul>\n\u003cli>“Australian senator brands Meghan Markle a ‘horrible human’ with a ‘terrible influence on Prince Harry’ and declares they are ‘awful, revolting people’ in an extraordinarily scathing live TV rant”\u003c/li>\n\u003cli>“Meghan’s new favorite magazine ‘The Cut’ launches vicious attack on father-in-law King Charles for being a ‘big, fussy baby and a jerk to his staff’ as he mourns loss of beloved mother, Queen Elizabeth II”\u003c/li>\n\u003cli>“‘They say the cause of death was Meghan Markle’s podcast’: Bill Maher takes a jab at Meghan’s Archetypes podcast”\u003c/li>\n\u003c/ul>\n\u003cp>No such secondhand coverage has been published on Andrew.\u003c/p>\n\u003cp>On Twitter, things for Markle were even worse. While Prince Andrew failed to make it into the top trending topics during his return to the spotlight, #GoHomeMeghanMarkle dominated the website on Sept. 12. The hashtag started after Markle accompanied Prince Harry, Prince William and Princess Kate to greet mourners in London. Had Markle not accompanied her husband in this task, she would likely have been accused of discarding the feelings of the British public and disrespecting the queen. Showing up and doing her duty unfortunately did not mean she fared any better.\u003c/p>\n\u003cp>While some of the gathered crowds (especially younger people) greeted Markle warmly that day, those that didn’t were praised online for giving her the cold shoulder.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Markle must have known in advance that she would be in a no-win situation as soon as she set foot on British soil. And she has sailed through the scrutiny with as much dignity as any human could possibly muster under the circumstances. What has been forgotten this week is that Markle and Harry were careful during their Oprah tell-all to paint Queen Elizabeth II in a very positive light. Also forgotten? The fact that they named their daughter after Elizabeth’s childhood nickname, Lilibet. It matters not. The damage in the U.K. is done and as far as the royal supporters there are concerned, Meghan Markle is and always will be a pariah.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though stateside the presumed cause of all this is racism, the real reasons behind the ostracizing of Markle are more complex. The color of her skin is undoubtedly a factor for some, yes—but so is her nationality. (Lest we forget that the last senior royal that married an American was \u003ca href=\"https://en.wikipedia.org/wiki/Edward_VIII\" target=\"_blank\" rel=\"noopener noreferrer\">forced to live in exile after abdicating the throne\u003c/a> in order to do so.) It’s OK for members of the British royal family to marry so-called “commoners.” But the commoners who marry in usually do so having been groomed to understand and revere every aspect of royal life. Markle had no such life-long training, and the royalists of Britain know (and resent) it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The truth of the matter is that the U.K. public is willing to live with royal overlords only so long as the people at the top of that hierarchy are willing to keep their mouths shut and play the game. Part of that game—as \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">every woman who’s ever married into the Windsor family\u003c/a> could tell you—is putting up with bullying from both the press and the public. Middleton, the new Princess of Wales, for example, endured a decade of mockery. She silently withstood that hardship and humiliation and is now talked about only in the most glowing of terms. She put her time in and she was rewarded. When Markle was unwilling to put up with such treatment—a hazing of sorts—her fate was sealed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is 'Don't Worry Darling' a Refreshing Spritz or Total Spit-Show?",
"headTitle": "Is ‘Don’t Worry Darling’ a Refreshing Spritz or Total Spit-Show? | KQED",
"content": "\u003cp>As anyone who’s spent time on the internet over the past few months could tell you, the publicity for \u003cem>Don’t Worry Darling\u003c/em> has been … eventful. So far the headlines have revolved around \u003ca href=\"https://twitter.com/MvelaseP/status/1566963315372445698\" target=\"_blank\" rel=\"noopener noreferrer\">rifts\u003c/a>, \u003ca href=\"https://variety.com/2022/film/news/shia-labeouf-denies-fired-olivia-wilde-dont-worry-darling-1235350529/\" target=\"_blank\" rel=\"noopener noreferrer\">leaked emails\u003c/a>, \u003ca href=\"https://www.today.com/popculture/popculture/olivia-wilde-responds-rumors-left-jason-sudeikis-harry-styles-rcna46890\" target=\"_blank\" rel=\"noopener noreferrer\">possible affairs\u003c/a>, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-62670696\" target=\"_blank\" rel=\"noopener noreferrer\">custody battles\u003c/a>, \u003ca href=\"https://twitter.com/cinemazietgeist/status/1566992856950218763\" target=\"_blank\" rel=\"noopener noreferrer\">#spitgate\u003c/a> and—my personal favorite—\u003ca href=\"https://twitter.com/FPDMedia/status/1566770845317566469\" target=\"_blank\" rel=\"noopener noreferrer\">revenge aperol spritzes\u003c/a>. In other words: everything other than the actual movie.\u003c/p>\n\u003cp>When there’s this much drama and noise around a new movie, it usually means one thing and one thing only: It sucks. Which is why I’m here, fresh from a preview, to report back about all the crucial details.\u003c/p>\n\u003cp>Here is everything you need to know about \u003cem>Don’t Worry Darling.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FgmnKsED-jU\u003c/p>\n\u003ch2>What’s it about?\u003c/h2>\n\u003cp>The tale revolves around Alice Chambers (Florence Pugh) and her husband, Jack (Harry Styles). The saucy young married couple live in a beautiful but isolated community where all the husbands work for the mysterious Victory Project, and all the wives stay home and keep things looking pretty. When one of the wives starts behaving erratically, Alice suspects all might not be as perfect as it seems. She goes on a hunt for the truth that may ultimately destroy her cozy existence.\u003c/p>\n\u003cfigure id=\"attachment_13919071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919071\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ballet-800x523.png\" alt=\"Six attractive slim women in leotards and tights practice ballet in formation.\" width=\"800\" height=\"523\">\u003cfigcaption class=\"wp-caption-text\">Are you a regular human who gained some weight in the pandemic? Prepare to feel really bad about your life choices!\u003c/figcaption>\u003c/figure>\n\u003ch2>Who is this for?\u003c/h2>\n\u003cp>Anyone who doesn’t mind leaving the theater feeling three times uglier than when they sat down. \u003cem>Don’t Worry Darling\u003c/em> is aesthetically very beautiful throughout, awash with things (and people) that are perfectly symmetrical, and constantly taunting us with scenes that involve entire walls of mirrors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If it wasn’t for the presence of Normal Looking Human Nick Kroll, Jonah from \u003cem>Veep\u003c/em> (Timothy Simons), and a scene at the end where Harry Styles looks gross (no, I don’t know how they did it either), I’d say \u003cem>DWD\u003c/em> should come with a warning. “\u003cem>The following contains unfeasibly high levels of unattainable beauty. Viewer discretion is advised.\u003c/em>”\u003c/p>\n\u003cfigure id=\"attachment_13919080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-800x533.jpeg\" alt=\"Two white women in 1950s-era period cocktail dresses stand before a wall of ornate mirrors.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Wilde as Bunny and Florence Pugh as Alice in ‘Don’t Worry Darling.’ \u003ccite>(Merrick Morton / 2022 Warner Bros. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Is it a bad movie?\u003c/h2>\n\u003cp>No. It really isn’t, I swear. But boy howdy, does this thing need an edit. It could have been so great with an edit!\u003c/p>\n\u003cp>[aside postid='arts_13918810']At its core, \u003cem>Don’t Worry Darling\u003c/em> is quite clever. It’s also not as predictable as I had expected; the suspense at the end, in particular, is wonderful. But somebody needed to rein this thing in. Plot points are made repeatedly and to the detriment of pace. Weird things happen to enhance mood that create plot holes. (That weird earthquake-like rumbling you see in the trailer? Don’t expect an explanation for that, nor for a bunch of other trippy things Alice experiences.) At one point, two characters disappear and we never, ever find out what happened to them.\u003c/p>\n\u003cp>Most perplexing of all, there is a Big Party Scene towards the end of the movie whose only purpose is to loudly repeat everything we’ve already learned, just in a different aesthetically pleasing sort of way. The scene’s reasons for still being in the movie are, quite transparently:\u003c/p>\n\u003col>\n\u003cli>Dita Von Teese doing a thing in it\u003c/li>\n\u003cli>A big band (with a really unsubtle name) doing a thing in it\u003c/li>\n\u003cli>Harry Styles doing an \u003cem>utterly inexplicable\u003c/em> tap dance in it\u003c/li>\n\u003c/ol>\n\u003cp>If Wilde wanted to keep this scene so badly, she should’ve cut out a few reveals in the run up to it.\u003c/p>\n\u003cfigure id=\"attachment_13919077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1421242229-800x533.jpg\" alt=\"Harry Styles, wearing a dark blue suit, stands on the red carpet, wearing large square sunglasses. He is also wearing a light blue shirt with aggressively long pointed collars.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">This Shirt = Even worse than spitting on Chris Pine. \u003ccite>(Getty Images/ John Phillips )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why did Harry Styles wear that shirt at the Venice Film Festival premiere?\u003c/h2>\n\u003cp>The answer is as inexplicable as his on-screen tap dancing. Maybe he was giving his girlfriend an excuse to not stand next to him? Maybe it was a cry for help? It’s best that we all just scrub our eyeballs and try to move on with our lives.\u003c/p>\n\u003cfigure id=\"attachment_13919082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919082\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/rev-1-DWD-FP-0042_High_Res_JPEG-800x399.jpeg\" alt=\"A white woman in a black leotard stares at her reflection in the mirror. Staring back at her is a pretty Black woman with long straight hair, wearing a pink nightgown.\" width=\"800\" height=\"399\">\u003cfigcaption class=\"wp-caption-text\">Why the hell has Kiki Layne been so absent from all of ‘Don’t Worry Darling’s promo stuff? Hers is the first character I truly cared about in the whole movie tbh. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Is the acting any good?\u003c/h2>\n\u003cp>Yes. Across the board. And it’s particularly great when it comes to the two leads. This being a movie that revolves around a shallow, pleasure-driven life full of shallow, pleasure-driven people means there are few opportunities early on for the actors to dig their teeth in. But as soon as the cracks start to show in the Victory community, almost everyone here is given space to shine.\u003c/p>\n\u003cp>Styles is a revelation, successfully managing to make you forget he’s actually famous for doing something else. And Pugh works her ass off to give Alice depth and character, even when the material reduces her to little more than Happy Housewife Who Likes Doin’ It On Tables. In the end, Pugh makes Alice someone to genuinely root for.\u003c/p>\n\u003cfigure id=\"attachment_13919078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1421095603-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Olivia: “See Harry? If we don’t stand directly next to each other, NO ONE WILL KNOW.” Harry: “Genius.” Sydney Chandler: “Can I go and stand with Nick Kroll please?” \u003ccite>(Stefania D'Alessandro/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Did Olivia Wilde’s relationship with Harry Styles affect the movie?\u003c/h2>\n\u003cp>How in the ever-loving LaBeouf should I know? This should be fairly obvious (Twitter tells me it’s not), but the only people who know what went down on that movie set are the people who worked on that movie set. Which, sure, did include Shia “\u003ca href=\"https://www.bustle.com/entertainment/shia-labeouf-says-olivia-wilde-didnt-fire-him-from-dont-worry-darling-quit-variety\" target=\"_blank\" rel=\"noopener noreferrer\">LOOK AT THESE EMAILS\u003c/a>” LaBeouf for a while. But does anyone really want to side with that guy after \u003ca href=\"https://www.kqed.org/arts/13890303/shia-labeouf-blames-addiction-for-his-alleged-abuse-of-fka-twigs-its-a-cop-out\" target=\"_blank\" rel=\"noopener noreferrer\">the whole FKA Twigs thing\u003c/a>? No, thank you.\u003c/p>\n\u003cp>Frankly, probably the only reason so many theories have been floating around about this is because the internet needed a new famous woman to bully \u003ca href=\"https://www.kqed.org/arts/13913533/amber-heard-johnny-depp-trial-misogyny-abuse-defamation-libel\" target=\"_blank\" rel=\"noopener noreferrer\">post-Amber Heard,\u003c/a> and it landed on Olivia Wilde as The Chosen One. The Twitter pile-on has been hard to watch.\u003c/p>\n\u003cfigure id=\"attachment_13919089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-800x557.jpeg\" alt=\"A petite blond woman wearing a pretty black 1950s-style dress runs in the center of a road towards desolate mountains. She is glancing back over her shoulder.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-800x557.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-1020x710.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-768x535.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-1536x1069.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-2048x1425.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-1920x1336.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run, Florence, run! \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Is it worth seeing in the theater?\u003c/h2>\n\u003cp>Depends how patient you are. If gorgeous aesthetics, beautiful people, a fantastic soundtrack and a decent ending are enough for you, by all means go. If you want to watch Olivia Wilde chainsmoke gratuitously or Chris Pine be quietly sinister, book those tickets, baby.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But if you don’t want to wade through weird pacing, a few plot holes and some fairly unsubtle symbolism? Wait for it to hit streaming, darling.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As anyone who’s spent time on the internet over the past few months could tell you, the publicity for \u003cem>Don’t Worry Darling\u003c/em> has been … eventful. So far the headlines have revolved around \u003ca href=\"https://twitter.com/MvelaseP/status/1566963315372445698\" target=\"_blank\" rel=\"noopener noreferrer\">rifts\u003c/a>, \u003ca href=\"https://variety.com/2022/film/news/shia-labeouf-denies-fired-olivia-wilde-dont-worry-darling-1235350529/\" target=\"_blank\" rel=\"noopener noreferrer\">leaked emails\u003c/a>, \u003ca href=\"https://www.today.com/popculture/popculture/olivia-wilde-responds-rumors-left-jason-sudeikis-harry-styles-rcna46890\" target=\"_blank\" rel=\"noopener noreferrer\">possible affairs\u003c/a>, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-62670696\" target=\"_blank\" rel=\"noopener noreferrer\">custody battles\u003c/a>, \u003ca href=\"https://twitter.com/cinemazietgeist/status/1566992856950218763\" target=\"_blank\" rel=\"noopener noreferrer\">#spitgate\u003c/a> and—my personal favorite—\u003ca href=\"https://twitter.com/FPDMedia/status/1566770845317566469\" target=\"_blank\" rel=\"noopener noreferrer\">revenge aperol spritzes\u003c/a>. In other words: everything other than the actual movie.\u003c/p>\n\u003cp>When there’s this much drama and noise around a new movie, it usually means one thing and one thing only: It sucks. Which is why I’m here, fresh from a preview, to report back about all the crucial details.\u003c/p>\n\u003cp>Here is everything you need to know about \u003cem>Don’t Worry Darling.\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/FgmnKsED-jU'\n title='//www.youtube.com/embed/FgmnKsED-jU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>What’s it about?\u003c/h2>\n\u003cp>The tale revolves around Alice Chambers (Florence Pugh) and her husband, Jack (Harry Styles). The saucy young married couple live in a beautiful but isolated community where all the husbands work for the mysterious Victory Project, and all the wives stay home and keep things looking pretty. When one of the wives starts behaving erratically, Alice suspects all might not be as perfect as it seems. She goes on a hunt for the truth that may ultimately destroy her cozy existence.\u003c/p>\n\u003cfigure id=\"attachment_13919071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919071\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ballet-800x523.png\" alt=\"Six attractive slim women in leotards and tights practice ballet in formation.\" width=\"800\" height=\"523\">\u003cfigcaption class=\"wp-caption-text\">Are you a regular human who gained some weight in the pandemic? Prepare to feel really bad about your life choices!\u003c/figcaption>\u003c/figure>\n\u003ch2>Who is this for?\u003c/h2>\n\u003cp>Anyone who doesn’t mind leaving the theater feeling three times uglier than when they sat down. \u003cem>Don’t Worry Darling\u003c/em> is aesthetically very beautiful throughout, awash with things (and people) that are perfectly symmetrical, and constantly taunting us with scenes that involve entire walls of mirrors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If it wasn’t for the presence of Normal Looking Human Nick Kroll, Jonah from \u003cem>Veep\u003c/em> (Timothy Simons), and a scene at the end where Harry Styles looks gross (no, I don’t know how they did it either), I’d say \u003cem>DWD\u003c/em> should come with a warning. “\u003cem>The following contains unfeasibly high levels of unattainable beauty. Viewer discretion is advised.\u003c/em>”\u003c/p>\n\u003cfigure id=\"attachment_13919080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-800x533.jpeg\" alt=\"Two white women in 1950s-era period cocktail dresses stand before a wall of ornate mirrors.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-01318_High_Res_JPEG-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Wilde as Bunny and Florence Pugh as Alice in ‘Don’t Worry Darling.’ \u003ccite>(Merrick Morton / 2022 Warner Bros. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Is it a bad movie?\u003c/h2>\n\u003cp>No. It really isn’t, I swear. But boy howdy, does this thing need an edit. It could have been so great with an edit!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Don’t Worry Darling\u003c/em> is quite clever. It’s also not as predictable as I had expected; the suspense at the end, in particular, is wonderful. But somebody needed to rein this thing in. Plot points are made repeatedly and to the detriment of pace. Weird things happen to enhance mood that create plot holes. (That weird earthquake-like rumbling you see in the trailer? Don’t expect an explanation for that, nor for a bunch of other trippy things Alice experiences.) At one point, two characters disappear and we never, ever find out what happened to them.\u003c/p>\n\u003cp>Most perplexing of all, there is a Big Party Scene towards the end of the movie whose only purpose is to loudly repeat everything we’ve already learned, just in a different aesthetically pleasing sort of way. The scene’s reasons for still being in the movie are, quite transparently:\u003c/p>\n\u003col>\n\u003cli>Dita Von Teese doing a thing in it\u003c/li>\n\u003cli>A big band (with a really unsubtle name) doing a thing in it\u003c/li>\n\u003cli>Harry Styles doing an \u003cem>utterly inexplicable\u003c/em> tap dance in it\u003c/li>\n\u003c/ol>\n\u003cp>If Wilde wanted to keep this scene so badly, she should’ve cut out a few reveals in the run up to it.\u003c/p>\n\u003cfigure id=\"attachment_13919077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1421242229-800x533.jpg\" alt=\"Harry Styles, wearing a dark blue suit, stands on the red carpet, wearing large square sunglasses. He is also wearing a light blue shirt with aggressively long pointed collars.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">This Shirt = Even worse than spitting on Chris Pine. \u003ccite>(Getty Images/ John Phillips )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why did Harry Styles wear that shirt at the Venice Film Festival premiere?\u003c/h2>\n\u003cp>The answer is as inexplicable as his on-screen tap dancing. Maybe he was giving his girlfriend an excuse to not stand next to him? Maybe it was a cry for help? It’s best that we all just scrub our eyeballs and try to move on with our lives.\u003c/p>\n\u003cfigure id=\"attachment_13919082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919082\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/rev-1-DWD-FP-0042_High_Res_JPEG-800x399.jpeg\" alt=\"A white woman in a black leotard stares at her reflection in the mirror. Staring back at her is a pretty Black woman with long straight hair, wearing a pink nightgown.\" width=\"800\" height=\"399\">\u003cfigcaption class=\"wp-caption-text\">Why the hell has Kiki Layne been so absent from all of ‘Don’t Worry Darling’s promo stuff? Hers is the first character I truly cared about in the whole movie tbh. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Is the acting any good?\u003c/h2>\n\u003cp>Yes. Across the board. And it’s particularly great when it comes to the two leads. This being a movie that revolves around a shallow, pleasure-driven life full of shallow, pleasure-driven people means there are few opportunities early on for the actors to dig their teeth in. But as soon as the cracks start to show in the Victory community, almost everyone here is given space to shine.\u003c/p>\n\u003cp>Styles is a revelation, successfully managing to make you forget he’s actually famous for doing something else. And Pugh works her ass off to give Alice depth and character, even when the material reduces her to little more than Happy Housewife Who Likes Doin’ It On Tables. In the end, Pugh makes Alice someone to genuinely root for.\u003c/p>\n\u003cfigure id=\"attachment_13919078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1421095603-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-1421095603-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Olivia: “See Harry? If we don’t stand directly next to each other, NO ONE WILL KNOW.” Harry: “Genius.” Sydney Chandler: “Can I go and stand with Nick Kroll please?” \u003ccite>(Stefania D'Alessandro/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Did Olivia Wilde’s relationship with Harry Styles affect the movie?\u003c/h2>\n\u003cp>How in the ever-loving LaBeouf should I know? This should be fairly obvious (Twitter tells me it’s not), but the only people who know what went down on that movie set are the people who worked on that movie set. Which, sure, did include Shia “\u003ca href=\"https://www.bustle.com/entertainment/shia-labeouf-says-olivia-wilde-didnt-fire-him-from-dont-worry-darling-quit-variety\" target=\"_blank\" rel=\"noopener noreferrer\">LOOK AT THESE EMAILS\u003c/a>” LaBeouf for a while. But does anyone really want to side with that guy after \u003ca href=\"https://www.kqed.org/arts/13890303/shia-labeouf-blames-addiction-for-his-alleged-abuse-of-fka-twigs-its-a-cop-out\" target=\"_blank\" rel=\"noopener noreferrer\">the whole FKA Twigs thing\u003c/a>? No, thank you.\u003c/p>\n\u003cp>Frankly, probably the only reason so many theories have been floating around about this is because the internet needed a new famous woman to bully \u003ca href=\"https://www.kqed.org/arts/13913533/amber-heard-johnny-depp-trial-misogyny-abuse-defamation-libel\" target=\"_blank\" rel=\"noopener noreferrer\">post-Amber Heard,\u003c/a> and it landed on Olivia Wilde as The Chosen One. The Twitter pile-on has been hard to watch.\u003c/p>\n\u003cfigure id=\"attachment_13919089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-800x557.jpeg\" alt=\"A petite blond woman wearing a pretty black 1950s-style dress runs in the center of a road towards desolate mountains. She is glancing back over her shoulder.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-800x557.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-1020x710.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-768x535.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-1536x1069.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-2048x1425.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/rev-1-DWD-FP-0035_High_Res_JPEG-1920x1336.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run, Florence, run! \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Is it worth seeing in the theater?\u003c/h2>\n\u003cp>Depends how patient you are. If gorgeous aesthetics, beautiful people, a fantastic soundtrack and a decent ending are enough for you, by all means go. If you want to watch Olivia Wilde chainsmoke gratuitously or Chris Pine be quietly sinister, book those tickets, baby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if you don’t want to wade through weird pacing, a few plot holes and some fairly unsubtle symbolism? Wait for it to hit streaming, darling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jennie Ottinger’s ‘Princess Series’ is a Perfectly Timed Musing on Diana—and Her Ex-Husband",
"headTitle": "Jennie Ottinger’s ‘Princess Series’ is a Perfectly Timed Musing on Diana—and Her Ex-Husband | KQED",
"content": "\u003cp>The timing of Jennie Ottinger’s \u003cem>Princess Series\u003c/em> is fairly astounding. This thoroughly absorbing exhibition of paintings documents pivotal moments in Princess Diana’s life—and it just happened to open the very same week that her former husband finally ascended to the throne. Once upon a time, she was supposed to be sitting next to him. As the rest of the world bears witness to the solemn pageantry of Elizabeth II’s official mourning period, Ottinger’s show is a pertinent reminder that the royal institution isn’t all it’s cracked up to be.\u003c/p>\n\u003cp>[aside postid='arts_13918870']The full title of the San Francisco artist’s show is, amusingly, \u003cem>\u003ca href=\"https://rebeccacamacho.com/exhibitions/profile/jennie-ottinger-bad-luck-dutch-your-face-is-on-the-tea-towels-the-princess-series\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Luck Dutch, Your Face is on the Tea Towels: The Princess Series\u003c/a>\u003c/em>. It’s named after the exact (flippant) phrasing that one of Diana’s sisters used when the bride-to-be wondered before her wedding if a marriage to Prince Charles was a good idea after all. The dark humor inherent in the title is a thread that runs through much of the artwork.\u003c/p>\n\u003cfigure id=\"attachment_13919119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-800x646.png\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-1536x1241.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM.png 1820w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger’s ‘Your England Kindergarten, 1980’ shows Diana with two of the kindergarten school children she worked with before her marriage. In the image, she is wearing the infamous white skirt she was mortified to realize was see-through in the sunlight. \u003ccite>(Courtesy of Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings of \u003cem>The Princess Series\u003c/em>, displayed in chronological order, reflect Diana’s life from the time of her engagement in 1980 to the year of her death, 1997. The images are based on news footage, official photography and photos torn from the tabloids. If you have even a passing interest in the life of Diana, most of them will already be familiar to you. The joy of the series is that Ottinger’s surreal renditions force us to look at those famous moments with fresh eyes and from new angles.\u003c/p>\n\u003cp>Ottinger’s work, on the surface, can appear akin to controlled chaos. But in \u003cem>The Princess Series\u003c/em>, the blank spaces the artist creates, the faces she leaves void, the features she grotesquely distorts, all provide pertinent commentary on hierarchy. The arc of the show presents a tale of who matters and who doesn’t—who gets scrutinized and who gets to be a leering observer. (The wedding congregation depicted in \u003ci>Bride & Groom, 1981\u003c/i> is the stuff of nightmares.)\u003c/p>\n\u003cfigure id=\"attachment_13919120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919120\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-800x587.png\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-1020x749.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-1536x1127.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM.png 1834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Engaged, 1981’ depicts Charles and Diana in one of their first public appearances as a couple. \u003ccite>(Courtesy of Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of delicious moments in the show to choose from, but \u003ci>Engaged, 1981\u003c/i>, a depiction of Charles and Diana in their first appearance as a betrothed couple, is one of the most striking. Ottinger presents Charles with a facial expression that lies somewhere between a grin and a sneer. Diana wears a picture book smile and the background is made up of broad brushstrokes. It all serves as a powerful reminder that Diana was just 19 at the time of her engagement—a naive girl woefully in the dark about the gravity of her situation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout, whether she’s dancing with John Travolta or looking forlorn at a banquet, \u003cem>The Princess Series\u003c/em> manages to capture Diana’s essence while also questioning the world she found herself trapped in. The final image of Diana in the show is poignant: alone, mid-dive, plunging into the ocean from a yacht less than three weeks before her death.\u003c/p>\n\u003cfigure id=\"attachment_13919140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-800x934.png\" alt=\"\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-800x934.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-1020x1191.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-160x187.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-768x897.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM.png 1096w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger’s ‘Black Sheep, 1981’ depicts Diana alone and nervously looking over her shoulder at a polo match. \u003ccite>(Courtesy of Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13866072']Spending time with \u003cem>The Princess Series\u003c/em> in the very earliest days of King Charles III’s reign, it’s impossible not to ponder the gulf between Britain’s royal reality and the one the country was promised throughout the 1980s. \u003ci>Black Sheep, 1981\u003c/i> shows Diana, childlike but for a pair of red high heels—playing dress-up springs to mind—glancing over her shoulder while her husband plays polo. The subtext is that Diana is nervously looking around for Camilla Parker Bowles, just as she famously did when she walked down the aisle that same year. Viewing this painting the same week Camilla became queen in Diana’s place is a surreal and powerful experience, and Ottinger’s work, surreal and powerful regardless of context, more than meets the moment.\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>Jennie Ottinger’s ‘Bad Luck, Dutch. Your Face is on the Tea Towels: The Princess Series’ is on view at Rebecca Camacho Presents (794 Sutter St., San Francisco) through Oct. 22, 2022. \u003ca href=\"https://rebeccacamacho.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The same week she would have been queen, a show at Rebecca Camacho offers a surreal re-examination of Diana’s life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The timing of Jennie Ottinger’s \u003cem>Princess Series\u003c/em> is fairly astounding. This thoroughly absorbing exhibition of paintings documents pivotal moments in Princess Diana’s life—and it just happened to open the very same week that her former husband finally ascended to the throne. Once upon a time, she was supposed to be sitting next to him. As the rest of the world bears witness to the solemn pageantry of Elizabeth II’s official mourning period, Ottinger’s show is a pertinent reminder that the royal institution isn’t all it’s cracked up to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The full title of the San Francisco artist’s show is, amusingly, \u003cem>\u003ca href=\"https://rebeccacamacho.com/exhibitions/profile/jennie-ottinger-bad-luck-dutch-your-face-is-on-the-tea-towels-the-princess-series\" rel=\"noopener noreferrer\" target=\"_blank\">Bad Luck Dutch, Your Face is on the Tea Towels: The Princess Series\u003c/a>\u003c/em>. It’s named after the exact (flippant) phrasing that one of Diana’s sisters used when the bride-to-be wondered before her wedding if a marriage to Prince Charles was a good idea after all. The dark humor inherent in the title is a thread that runs through much of the artwork.\u003c/p>\n\u003cfigure id=\"attachment_13919119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-800x646.png\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM-1536x1241.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.09.12-PM.png 1820w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger’s ‘Your England Kindergarten, 1980’ shows Diana with two of the kindergarten school children she worked with before her marriage. In the image, she is wearing the infamous white skirt she was mortified to realize was see-through in the sunlight. \u003ccite>(Courtesy of Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings of \u003cem>The Princess Series\u003c/em>, displayed in chronological order, reflect Diana’s life from the time of her engagement in 1980 to the year of her death, 1997. The images are based on news footage, official photography and photos torn from the tabloids. If you have even a passing interest in the life of Diana, most of them will already be familiar to you. The joy of the series is that Ottinger’s surreal renditions force us to look at those famous moments with fresh eyes and from new angles.\u003c/p>\n\u003cp>Ottinger’s work, on the surface, can appear akin to controlled chaos. But in \u003cem>The Princess Series\u003c/em>, the blank spaces the artist creates, the faces she leaves void, the features she grotesquely distorts, all provide pertinent commentary on hierarchy. The arc of the show presents a tale of who matters and who doesn’t—who gets scrutinized and who gets to be a leering observer. (The wedding congregation depicted in \u003ci>Bride & Groom, 1981\u003c/i> is the stuff of nightmares.)\u003c/p>\n\u003cfigure id=\"attachment_13919120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919120\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-800x587.png\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-1020x749.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM-1536x1127.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-2.36.43-PM.png 1834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Engaged, 1981’ depicts Charles and Diana in one of their first public appearances as a couple. \u003ccite>(Courtesy of Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of delicious moments in the show to choose from, but \u003ci>Engaged, 1981\u003c/i>, a depiction of Charles and Diana in their first appearance as a betrothed couple, is one of the most striking. Ottinger presents Charles with a facial expression that lies somewhere between a grin and a sneer. Diana wears a picture book smile and the background is made up of broad brushstrokes. It all serves as a powerful reminder that Diana was just 19 at the time of her engagement—a naive girl woefully in the dark about the gravity of her situation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout, whether she’s dancing with John Travolta or looking forlorn at a banquet, \u003cem>The Princess Series\u003c/em> manages to capture Diana’s essence while also questioning the world she found herself trapped in. The final image of Diana in the show is poignant: alone, mid-dive, plunging into the ocean from a yacht less than three weeks before her death.\u003c/p>\n\u003cfigure id=\"attachment_13919140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-800x934.png\" alt=\"\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-800x934.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-1020x1191.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-160x187.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM-768x897.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-14-at-5.24.00-PM.png 1096w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger’s ‘Black Sheep, 1981’ depicts Diana alone and nervously looking over her shoulder at a polo match. \u003ccite>(Courtesy of Rebecca Camacho Presents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spending time with \u003cem>The Princess Series\u003c/em> in the very earliest days of King Charles III’s reign, it’s impossible not to ponder the gulf between Britain’s royal reality and the one the country was promised throughout the 1980s. \u003ci>Black Sheep, 1981\u003c/i> shows Diana, childlike but for a pair of red high heels—playing dress-up springs to mind—glancing over her shoulder while her husband plays polo. The subtext is that Diana is nervously looking around for Camilla Parker Bowles, just as she famously did when she walked down the aisle that same year. Viewing this painting the same week Camilla became queen in Diana’s place is a surreal and powerful experience, and Ottinger’s work, surreal and powerful regardless of context, more than meets the moment.\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>Jennie Ottinger’s ‘Bad Luck, Dutch. Your Face is on the Tea Towels: The Princess Series’ is on view at Rebecca Camacho Presents (794 Sutter St., San Francisco) through Oct. 22, 2022. \u003ca href=\"https://rebeccacamacho.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Halle Bailey's 'Little Mermaid' is Already Making Waves Among Young Black Girls",
"headTitle": "Halle Bailey’s ‘Little Mermaid’ is Already Making Waves Among Young Black Girls | KQED",
"content": "\u003cp>Following the teaser \u003ca href=\"https://www.youtube.com/watch?v=0-wPm99PF9U\">trailer for the live-action version\u003c/a> of Disney’s \u003cem>The Little Mermaid\u003c/em>, parents of young Black girls are posting videos across social media of their children’s reactions to seeing Halle Bailey as Ariel.\u003c/p>\n\u003cp>“I wanna watch it!” a girl says in a \u003ca href=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395?_r=1&_t=8VdBrIBXh5W&is_from_webapp=v1&item_id=7141549155868036395\">video \u003c/a>posted by TikTok user Adelia Chaiyakul.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395\" data-video-id=\"7141549155868036395\">\n\u003csection>\u003ca title=\"@adeliachai2\" href=\"https://www.tiktok.com/@adeliachai2?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@adeliachai2\u003c/a> Showing my daughter The Little Mermaid Teaser Trailer \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"littlemermaid\" href=\"https://www.tiktok.com/tag/littlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#littlemermaid\u003c/a> \u003ca title=\"hallebailey\" href=\"https://www.tiktok.com/tag/hallebailey?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#hallebailey\u003c/a> \u003ca title=\"disney\" href=\"https://www.tiktok.com/tag/disney?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#disney\u003c/a> \u003ca title=\"brownskingirl\" href=\"https://www.tiktok.com/tag/brownskingirl?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#brownskingirl\u003c/a> \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> \u003ca title=\"♬ The Little Mermaid: Part of Your World - Geek Music\" href=\"https://www.tiktok.com/music/The-Little-Mermaid-Part-of-Your-World-6891415531383949313?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ The Little Mermaid: Part of Your World – Geek Music\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>“Mommy! … She’s brown like me!” says a girl in another TikTok.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nickyknackpaddywack/video/7142138063504969006\" data-video-id=\"7142138063504969006\">\n\u003csection>\u003ca title=\"@nickyknackpaddywack\" href=\"https://www.tiktok.com/@nickyknackpaddywack?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@nickyknackpaddywack\u003c/a> Mayas reaction to \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> trailer. \u003ca title=\"representationmatters\" href=\"https://www.tiktok.com/tag/representationmatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationmatters\u003c/a> \u003ca title=\"representationinthemediamatters\" href=\"https://www.tiktok.com/tag/representationinthemediamatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationinthemediamatters\u003c/a> \u003ca title=\"blackgirls\" href=\"https://www.tiktok.com/tag/blackgirls?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#blackgirls\u003c/a> \u003ca title=\"♬ original sound - Nicky\" href=\"https://www.tiktok.com/music/original-sound-7142138065312582442?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Nicky\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>Many similar videos have been shared across social media since the teaser trailer was released on Friday, with hashtags such as #representationmatters and #Blackgirlmagic. The trailer has surpassed 12 million views.\u003c/p>\n\u003cp>Disney first unveiled a sneak peek of its live-action adaptation of the 1989 animated film at its \u003ca href=\"https://www.npr.org/2022/09/10/1122224622/disney-disenchanted-little-mermaid-movie-trailers\" target=\"_blank\" rel=\"noopener noreferrer\">D23 Expo\u003c/a>. In the video, fans get a brief look at Bailey, an actress and singer from the R&B duo Chloe x Halle, playing the lead role of Ariel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Bailey, the film features actor Daveed Diggs as the voice of Sebastian, Melissa McCarthy as Ursula, Javier Bardem as Triton, Jacob Tremblay as Flounder, and Awkwafina as Scuttle.\u003c/p>\n\u003cp>[aside postid='arts_13914736']In an \u003ca href=\"https://variety.com/2022/film/features/halle-bailey-the-little-mermaid-interview-backlash-ariel-1235336668/\" target=\"_blank\" rel=\"noopener noreferrer\">interview with \u003cem>Variety\u003c/em>\u003c/a>, Bailey, 22, addressed the backlash towards her casting in the lead role. Some on social media have used the hashtag #NotMyAriel to say that casting a Black actress goes against the original Hans Christian Andersen fairy tale, which was originally published in Denmark in 1837. In the wake of that, Bailey said that her grandparents offered her some perspective.\u003c/p>\n\u003cp>“It was an inspiring and beautiful thing to hear their words of encouragement, telling me, ‘You don’t understand what this is doing for us, for our community, for all the little Black and brown girls who are going to see themselves in you,'” Bailey said.\u003c/p>\n\u003cp>“I want the little girl in me and the little girls just like me who are watching to know that they’re special and that they should be a princess in every single way,” she added.\u003c/p>\n\u003cp>https://twitter.com/HalleBailey/status/1569455744046747648\u003c/p>\n\u003cp>The original animated 1989 film tells the story of a young mermaid, Ariel, who falls in love with a human prince. In order to win him over, she makes a deal with a sea witch named Ursula to become a human.\u003c/p>\n\u003cp>The Little Mermaid is set to be released in theaters on May 26, 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the teaser \u003ca href=\"https://www.youtube.com/watch?v=0-wPm99PF9U\">trailer for the live-action version\u003c/a> of Disney’s \u003cem>The Little Mermaid\u003c/em>, parents of young Black girls are posting videos across social media of their children’s reactions to seeing Halle Bailey as Ariel.\u003c/p>\n\u003cp>“I wanna watch it!” a girl says in a \u003ca href=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395?_r=1&_t=8VdBrIBXh5W&is_from_webapp=v1&item_id=7141549155868036395\">video \u003c/a>posted by TikTok user Adelia Chaiyakul.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395\" data-video-id=\"7141549155868036395\">\n\u003csection>\u003ca title=\"@adeliachai2\" href=\"https://www.tiktok.com/@adeliachai2?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@adeliachai2\u003c/a> Showing my daughter The Little Mermaid Teaser Trailer \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"littlemermaid\" href=\"https://www.tiktok.com/tag/littlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#littlemermaid\u003c/a> \u003ca title=\"hallebailey\" href=\"https://www.tiktok.com/tag/hallebailey?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#hallebailey\u003c/a> \u003ca title=\"disney\" href=\"https://www.tiktok.com/tag/disney?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#disney\u003c/a> \u003ca title=\"brownskingirl\" href=\"https://www.tiktok.com/tag/brownskingirl?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#brownskingirl\u003c/a> \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> \u003ca title=\"♬ The Little Mermaid: Part of Your World - Geek Music\" href=\"https://www.tiktok.com/music/The-Little-Mermaid-Part-of-Your-World-6891415531383949313?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ The Little Mermaid: Part of Your World – Geek Music\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>“Mommy! … She’s brown like me!” says a girl in another TikTok.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nickyknackpaddywack/video/7142138063504969006\" data-video-id=\"7142138063504969006\">\n\u003csection>\u003ca title=\"@nickyknackpaddywack\" href=\"https://www.tiktok.com/@nickyknackpaddywack?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@nickyknackpaddywack\u003c/a> Mayas reaction to \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> trailer. \u003ca title=\"representationmatters\" href=\"https://www.tiktok.com/tag/representationmatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationmatters\u003c/a> \u003ca title=\"representationinthemediamatters\" href=\"https://www.tiktok.com/tag/representationinthemediamatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationinthemediamatters\u003c/a> \u003ca title=\"blackgirls\" href=\"https://www.tiktok.com/tag/blackgirls?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#blackgirls\u003c/a> \u003ca title=\"♬ original sound - Nicky\" href=\"https://www.tiktok.com/music/original-sound-7142138065312582442?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Nicky\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>Many similar videos have been shared across social media since the teaser trailer was released on Friday, with hashtags such as #representationmatters and #Blackgirlmagic. The trailer has surpassed 12 million views.\u003c/p>\n\u003cp>Disney first unveiled a sneak peek of its live-action adaptation of the 1989 animated film at its \u003ca href=\"https://www.npr.org/2022/09/10/1122224622/disney-disenchanted-little-mermaid-movie-trailers\" target=\"_blank\" rel=\"noopener noreferrer\">D23 Expo\u003c/a>. In the video, fans get a brief look at Bailey, an actress and singer from the R&B duo Chloe x Halle, playing the lead role of Ariel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Bailey, the film features actor Daveed Diggs as the voice of Sebastian, Melissa McCarthy as Ursula, Javier Bardem as Triton, Jacob Tremblay as Flounder, and Awkwafina as Scuttle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://variety.com/2022/film/features/halle-bailey-the-little-mermaid-interview-backlash-ariel-1235336668/\" target=\"_blank\" rel=\"noopener noreferrer\">interview with \u003cem>Variety\u003c/em>\u003c/a>, Bailey, 22, addressed the backlash towards her casting in the lead role. Some on social media have used the hashtag #NotMyAriel to say that casting a Black actress goes against the original Hans Christian Andersen fairy tale, which was originally published in Denmark in 1837. In the wake of that, Bailey said that her grandparents offered her some perspective.\u003c/p>\n\u003cp>“It was an inspiring and beautiful thing to hear their words of encouragement, telling me, ‘You don’t understand what this is doing for us, for our community, for all the little Black and brown girls who are going to see themselves in you,'” Bailey said.\u003c/p>\n\u003cp>“I want the little girl in me and the little girls just like me who are watching to know that they’re special and that they should be a princess in every single way,” she added.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The original animated 1989 film tells the story of a young mermaid, Ariel, who falls in love with a human prince. In order to win him over, she makes a deal with a sea witch named Ursula to become a human.\u003c/p>\n\u003cp>The Little Mermaid is set to be released in theaters on May 26, 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Takeaways From the 2022 Emmy Awards",
"headTitle": "Five Takeaways From the 2022 Emmy Awards | KQED",
"content": "\u003cp>Emmy night was a big one for a lot of different shows: \u003cem>Squid Game\u003c/em>, \u003cem>Succession\u003c/em>, \u003cem>Ted Lasso\u003c/em>, \u003cem>The White Lotus\u003c/em>. There were very strange music choices (why did Jesse Armstrong collect an Emmy for writing \u003cem>Succession \u003c/em>and walk on stage to “Shake Your Booty”?) and bits that dragged on too long (especially Jimmy Kimmel’s play-dead routine that lasted right through Quinta Brunson’s win for comedy writing for \u003cem>Abbott Elementary\u003c/em>). But there were also great speeches and encouraging wins, and we’re here to look at five takeaways from the ceremony as a whole. (Here’s \u003ca href=\"https://www.npr.org/2022/09/12/1122305852/emmys-2022-full-list-of-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">a complete list of winners\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>1. The great Sheryl Lee Ralph won the night.\u003c/strong>\u003c/p>\n\u003cp>There are years when you have to try to figure out what was the best moment of the ceremony; this was not one of those years.\u003c/p>\n\u003cp>When Sheryl Lee Ralph accepted the award for outstanding supporting actress in a comedy series for \u003cem>Abbott Elementary\u003c/em>, her speech was not only the best moment of the night, but it’s up there for the best moment of the Emmys… maybe ever?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cRw8IFLS1Fs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ralph took the stage and sang Dianne Reeves’ “Endangered Species” a cappella—something few people could do effectively. She then spoke rousingly, beautifully and encouragingly about the importance of never giving up your dreams and how you should value all the people who take care of you. It’s worth downloading the whole speech to your phone so that you can play it for yourself the next time you are discouraged, but really, it belongs uniquely to her and the power of her talent and her history. Her career in TV stretches back to the 1980s, but with this award she became only the second Black woman to win in the category (after Jackée Harry for \u003cem>227\u003c/em>). While it was overdue, it was great to see.\u003c/p>\n\u003cp>\u003cstrong>2. The show still needs more time for speeches and less for montages and scripted banter.\u003c/strong>\u003c/p>\n\u003cp>This particular Emmy ceremony, with a couple of notable exceptions, seemed to be playing people off quickly, even though some of them, like Jennifer Coolidge, were very entertaining. Coolidge won best supporting actress in a limited series for her work in \u003cem>The White Lotus;\u003c/em> after trying and trying to get the show to let her say a couple more things, Coolidge heard “Hit The Road, Jack” start up and, rather than hurrying off stage, she danced, to a roar from the crowd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y-9yNVGiOpE\u003c/p>\n\u003cp>At the same time winners fought for spare seconds, dull montages that were little more than “here are some TV shows” were allowed to linger, as were scripted bits that seemed less satisfying than the cut-off speeches, even when those sketches were performed by able comedians like host Kenan Thompson and the very funny Bowen Yang. Awards show producers seem convinced that people want all the stuff in between the awards more than they want the awards; betting on the charm of a speech instead of another montage will rarely be the wrong decision.\u003c/p>\n\u003cp>\u003cstrong>3. There weren’t a lot of big surprises. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Ted Lasso \u003c/em>and \u003cem>Succession \u003c/em>were both expected to win their respective categories of comedy series and drama series… and they did. \u003cem>The White Lotus \u003c/em>cleaned up in the limited series awards with wins for Coolidge and Murray Bartlett in the supporting categories and for Mike White in directing and writing.\u003c/p>\n\u003cp>Yet none of those shows swept the awards. Amanda Seyfried took lead actress for \u003cem>The Dropout \u003c/em>and Michael Keaton won for lead actor in \u003cem>Dopesick\u003c/em>. Lee Jung-jae won lead actor in a drama series for \u003cem>Squid Game, \u003c/em>the first Asian man to ever be so honored. This might be a surprise, since it’s the first time someone has won for a performance where they didn’t speak English, but the sheer phenomenon of the show and its big haul of nominations had suggested it had a good shot at doing well.\u003c/p>\n\u003cp>Perhaps the nicest surprise was Lizzo’s \u003cem>Watch Out For The Big Grrrls, \u003c/em>which broke \u003cem>RuPaul’s Drag Race\u003c/em> streak of four wins in the reality competition category. That win led (of course) to a powerful and joyful speech from Lizzo about the importance of representation—a running theme over the course of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zdWc-MW4HCM\u003c/p>\n\u003cp>\u003cstrong>4. There’s still plenty of repetition. \u003c/strong>\u003c/p>\n\u003cp>Even with competition running hot in almost every category and a lack of shows dominating the awards the way sitcoms like \u003cem>Frasier \u003c/em>and \u003cem>Modern Family \u003c/em>once did, there were lots of repeat winners.\u003c/p>\n\u003cp>[aside postid='arts_13918217']\u003cem>Saturday Night Live \u003c/em>won again in the variety sketch category (its only rival was \u003cem>A Black Lady Sketch Show\u003c/em>); it was its sixth win in a row, a pretty boring outcome. \u003cem>Succession \u003c/em>repeated last year’s win in the outstanding drama series category, as did \u003cem>Ted Lasso \u003c/em>in its own category of outstanding comedy series. Plus, \u003cem>Ted Lasso\u003c/em> actors Jason Sudeikis and Brett Goldstein won again in the lead and supporting categories.\u003c/p>\n\u003cp>That wasn’t all. Zendaya, who won the award for outstanding lead actress in a drama series for \u003cem>Euphoria \u003c/em>two years ago, won again. Jean Smart won for \u003cem>Hacks \u003c/em>for lead actress in a comedy series for the second year in a row. Perhaps most impressive of all, \u003cem>Last Week Tonight with John Oliver \u003c/em>won its seventh straight award for outstanding variety talk series, continuing to beat \u003cem>The Daily Show \u003c/em>as well as all of network late night.\u003c/p>\n\u003cp>\u003cstrong>5. People want to see new winners have a real chance. \u003c/strong>\u003c/p>\n\u003cp>It’s more an observation of public reaction than of the show itself, but standards seem to have changed for when a show has won “too much.” Back in the days when there were far fewer shows to choose from, it wasn’t until something racked up five or six wins—that pressure started to mount to get something else, anything else, up on stage with a win.\u003c/p>\n\u003cp>But now, with so much out there and so much that’s good, even two wins for \u003cem>Ted Lasso \u003c/em>seems repetitive, particularly when there’s a show that feels as fresh as \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13917950']The Emmys are starting to have an enviable problem: Even when people disagree with the outcome of a contest, it might be less that a show is undeserving and more that there’s simply something else that deserves a shot in a stacked category. Even the great Jean Smart, beloved by so many over such a tremendous career and absolutely marvelous on \u003cem>Hacks\u003c/em>, might not have been the first choice of many people. That’s not because of her ability; it’s because this was a year where she faced opponents like Brunson, who is a new face, and Issa Rae, who’s been nominated for \u003cem>Insecure \u003c/em>several times but has never won. This is one of the reasons the \u003cem>Squid Game \u003c/em>wins feels invigorating—the show is new.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s one thing for a win to feel deserved; it’s another for it to feel exciting. Even a second or third win can seem rote by now, so bring on the new contenders, and we’ll be glad to see 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=Five+takeaways+from+the+2022+Emmy+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 2022 Emmys handed out awards to 'Succession,' 'Squid Game,' 'Abbott Elementary,' 'Here's To The Big Grrrls' and many more.",
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"description": "The 2022 Emmys handed out awards to 'Succession,' 'Squid Game,' 'Abbott Elementary,' 'Here's To The Big Grrrls' and many more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emmy night was a big one for a lot of different shows: \u003cem>Squid Game\u003c/em>, \u003cem>Succession\u003c/em>, \u003cem>Ted Lasso\u003c/em>, \u003cem>The White Lotus\u003c/em>. There were very strange music choices (why did Jesse Armstrong collect an Emmy for writing \u003cem>Succession \u003c/em>and walk on stage to “Shake Your Booty”?) and bits that dragged on too long (especially Jimmy Kimmel’s play-dead routine that lasted right through Quinta Brunson’s win for comedy writing for \u003cem>Abbott Elementary\u003c/em>). But there were also great speeches and encouraging wins, and we’re here to look at five takeaways from the ceremony as a whole. (Here’s \u003ca href=\"https://www.npr.org/2022/09/12/1122305852/emmys-2022-full-list-of-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">a complete list of winners\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>1. The great Sheryl Lee Ralph won the night.\u003c/strong>\u003c/p>\n\u003cp>There are years when you have to try to figure out what was the best moment of the ceremony; this was not one of those years.\u003c/p>\n\u003cp>When Sheryl Lee Ralph accepted the award for outstanding supporting actress in a comedy series for \u003cem>Abbott Elementary\u003c/em>, her speech was not only the best moment of the night, but it’s up there for the best moment of the Emmys… maybe ever?\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/cRw8IFLS1Fs'\n title='//www.youtube.com/embed/cRw8IFLS1Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ralph took the stage and sang Dianne Reeves’ “Endangered Species” a cappella—something few people could do effectively. She then spoke rousingly, beautifully and encouragingly about the importance of never giving up your dreams and how you should value all the people who take care of you. It’s worth downloading the whole speech to your phone so that you can play it for yourself the next time you are discouraged, but really, it belongs uniquely to her and the power of her talent and her history. Her career in TV stretches back to the 1980s, but with this award she became only the second Black woman to win in the category (after Jackée Harry for \u003cem>227\u003c/em>). While it was overdue, it was great to see.\u003c/p>\n\u003cp>\u003cstrong>2. The show still needs more time for speeches and less for montages and scripted banter.\u003c/strong>\u003c/p>\n\u003cp>This particular Emmy ceremony, with a couple of notable exceptions, seemed to be playing people off quickly, even though some of them, like Jennifer Coolidge, were very entertaining. Coolidge won best supporting actress in a limited series for her work in \u003cem>The White Lotus;\u003c/em> after trying and trying to get the show to let her say a couple more things, Coolidge heard “Hit The Road, Jack” start up and, rather than hurrying off stage, she danced, to a roar from the crowd.\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/y-9yNVGiOpE'\n title='//www.youtube.com/embed/y-9yNVGiOpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the same time winners fought for spare seconds, dull montages that were little more than “here are some TV shows” were allowed to linger, as were scripted bits that seemed less satisfying than the cut-off speeches, even when those sketches were performed by able comedians like host Kenan Thompson and the very funny Bowen Yang. Awards show producers seem convinced that people want all the stuff in between the awards more than they want the awards; betting on the charm of a speech instead of another montage will rarely be the wrong decision.\u003c/p>\n\u003cp>\u003cstrong>3. There weren’t a lot of big surprises. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Ted Lasso \u003c/em>and \u003cem>Succession \u003c/em>were both expected to win their respective categories of comedy series and drama series… and they did. \u003cem>The White Lotus \u003c/em>cleaned up in the limited series awards with wins for Coolidge and Murray Bartlett in the supporting categories and for Mike White in directing and writing.\u003c/p>\n\u003cp>Yet none of those shows swept the awards. Amanda Seyfried took lead actress for \u003cem>The Dropout \u003c/em>and Michael Keaton won for lead actor in \u003cem>Dopesick\u003c/em>. Lee Jung-jae won lead actor in a drama series for \u003cem>Squid Game, \u003c/em>the first Asian man to ever be so honored. This might be a surprise, since it’s the first time someone has won for a performance where they didn’t speak English, but the sheer phenomenon of the show and its big haul of nominations had suggested it had a good shot at doing well.\u003c/p>\n\u003cp>Perhaps the nicest surprise was Lizzo’s \u003cem>Watch Out For The Big Grrrls, \u003c/em>which broke \u003cem>RuPaul’s Drag Race\u003c/em> streak of four wins in the reality competition category. That win led (of course) to a powerful and joyful speech from Lizzo about the importance of representation—a running theme over the course of the evening.\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/zdWc-MW4HCM'\n title='//www.youtube.com/embed/zdWc-MW4HCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. There’s still plenty of repetition. \u003c/strong>\u003c/p>\n\u003cp>Even with competition running hot in almost every category and a lack of shows dominating the awards the way sitcoms like \u003cem>Frasier \u003c/em>and \u003cem>Modern Family \u003c/em>once did, there were lots of repeat winners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Saturday Night Live \u003c/em>won again in the variety sketch category (its only rival was \u003cem>A Black Lady Sketch Show\u003c/em>); it was its sixth win in a row, a pretty boring outcome. \u003cem>Succession \u003c/em>repeated last year’s win in the outstanding drama series category, as did \u003cem>Ted Lasso \u003c/em>in its own category of outstanding comedy series. Plus, \u003cem>Ted Lasso\u003c/em> actors Jason Sudeikis and Brett Goldstein won again in the lead and supporting categories.\u003c/p>\n\u003cp>That wasn’t all. Zendaya, who won the award for outstanding lead actress in a drama series for \u003cem>Euphoria \u003c/em>two years ago, won again. Jean Smart won for \u003cem>Hacks \u003c/em>for lead actress in a comedy series for the second year in a row. Perhaps most impressive of all, \u003cem>Last Week Tonight with John Oliver \u003c/em>won its seventh straight award for outstanding variety talk series, continuing to beat \u003cem>The Daily Show \u003c/em>as well as all of network late night.\u003c/p>\n\u003cp>\u003cstrong>5. People want to see new winners have a real chance. \u003c/strong>\u003c/p>\n\u003cp>It’s more an observation of public reaction than of the show itself, but standards seem to have changed for when a show has won “too much.” Back in the days when there were far fewer shows to choose from, it wasn’t until something racked up five or six wins—that pressure started to mount to get something else, anything else, up on stage with a win.\u003c/p>\n\u003cp>But now, with so much out there and so much that’s good, even two wins for \u003cem>Ted Lasso \u003c/em>seems repetitive, particularly when there’s a show that feels as fresh as \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Emmys are starting to have an enviable problem: Even when people disagree with the outcome of a contest, it might be less that a show is undeserving and more that there’s simply something else that deserves a shot in a stacked category. Even the great Jean Smart, beloved by so many over such a tremendous career and absolutely marvelous on \u003cem>Hacks\u003c/em>, might not have been the first choice of many people. That’s not because of her ability; it’s because this was a year where she faced opponents like Brunson, who is a new face, and Issa Rae, who’s been nominated for \u003cem>Insecure \u003c/em>several times but has never won. This is one of the reasons the \u003cem>Squid Game \u003c/em>wins feels invigorating—the show is new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s one thing for a win to feel deserved; it’s another for it to feel exciting. Even a second or third win can seem rote by now, so bring on the new contenders, and we’ll be glad to see 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=Five+takeaways+from+the+2022+Emmy+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Showtime's 'American Gigolo' Sequel Lacks the Highfalutin Glitz of the Original",
"headTitle": "Showtime’s ‘American Gigolo’ Sequel Lacks the Highfalutin Glitz of the Original | KQED",
"content": "\u003cp>When I was growing up, remakes, sequels and prequels were considered slightly dodgy—either a money grab or an admission that one didn’t have the chops to be original. These days they’re what the world seems to embrace, be it \u003ca href=\"https://www.npr.org/2022/05/23/1099470229/top-gun-maverick-review-tom-cruise-sequel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Top Gun: Maverick\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>House of the Dragon\u003c/em>\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">\u003cem>Better Call Saul\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917861']The latest case is the Showtime series \u003cem>American Gigolo\u003c/em>. It’s a sequel to \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schrader’\u003c/a>s hit 1980 movie, which starred Richard Gere as Julian Kay, a high-end LA escort who gets framed for murder only to be redeemed by the love of a good woman, played by Lauren Hutton.\u003c/p>\n\u003cp>As it mixed potboiler material with ideas of religious transcendence, the film was often silly. But it was also memorable. Bristling with expensive, production-designed amorality, it offered the pounding beat of \u003ca href=\"https://www.npr.org/artists/512831993/blondie\">Blondie \u003c/a>performing “Call Me,” the image of Julian’s closet bursting with Armani clothing—the movie helped launch that brand in America—and the sight of Gere dishing up the first full-frontal nude scene by a male star in a studio film. \u003cem>American Gigolo\u003c/em> was one of those Hollywood “classics” that became mythic without being particularly good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NTavf-5Mdpo\u003c/p>\n\u003cp>Aside from its title, there’s nothing remotely mythic about the new series, which transfers Julian’s story into the 21st Century. Where Schrader created a deliberately opaque metaphorical fantasy, the show’s creator, David Hollander, takes a more literal-minded approach. He fiddles with the original plot, trading in highfalutin glitz for explanatory backstory and a conventional murder mystery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The action begins when Julian—now played by the excellent actor Jon Bernthal—is exonerated for a murder he didn’t commit and gets released from prison after 15 years. Wiser and worn, Julian doesn’t want to return to his slinky old life. He wants to live clean, though he’s also eager to find out who set him up for the murder. This means getting back in touch with people from his gigolo days: his handler Olga, who got him into the business, his escort pal Lorenzo, and his old lover Michelle—that’s Gretchen Mol in the Hutton role—whose son is heading into serious trouble.\u003c/p>\n\u003cp>Predictably, Julian’s return stirs things up. Soon there’s another murder, and before he knows it, a police detective—oddly played by Rosie O’Donnell—looks eager to pin it on him. Nobody seems willing to help Julian, including his old flame Michelle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RLy3OJvMgYg\u003c/p>\n\u003cp>When I heard that they were turning \u003cem>American Gigolo\u003c/em> into a series I was curious but dubious. Schrader himself has called the project a terrible idea, but no matter: He doesn’t own the rights to the characters. In France, artists are protected by the so-called \u003cem>droit moral\u003c/em>, or moral right, which means you can’t take their creations and do with them what you will. But this is America, so the series was made anyway, taking Julian’s story in a direction that Schrader—a complicated, genuinely fascinating man—would surely find banal.\u003c/p>\n\u003cp>Even as Julian’s backstory involves a strange abuse narrative—the show’s shot through with a startling misogyny—he himself becomes muted. Where Gere exuded a smug, plasticine perfection—he came from seemingly nowhere, like a sexy android—Bernthal’s weathered Julian is weighed down by regrets and confusion. He has none of the pop zing that made Julian a cultural touchstone.\u003c/p>\n\u003cp>[aside postid='arts_13918810']One reason \u003cem>American Gigolo\u003c/em> resonated in 1980 was that Schrader caught the direction of American culture before most people did. Indeed, the film’s rapt attention to money, consumerism and spiritual emptiness made it the first of many Reagan era morality plays—one that actually came out nine months before Reagan was even elected. It remains an emblem of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I can’t imagine that this will happen with the TV series, which relies too much on people knowing—and caring about—a movie that was made four decades ago. Then again, maybe this new \u003cem>American Gigolo\u003c/em> DOES capture our current American mood. It’s the story of a once cocksure man who now wears T-shirts and drives a borrowed convertible he can’t begin to afford. As Julian looks back on his often glittering past, he wonders exactly what happened to his life and how it all went wrong.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+%27American+Gigolo%27+sequel+lacks+the+highfalutin+glitz+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was growing up, remakes, sequels and prequels were considered slightly dodgy—either a money grab or an admission that one didn’t have the chops to be original. These days they’re what the world seems to embrace, be it \u003ca href=\"https://www.npr.org/2022/05/23/1099470229/top-gun-maverick-review-tom-cruise-sequel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Top Gun: Maverick\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>House of the Dragon\u003c/em>\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">\u003cem>Better Call Saul\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The latest case is the Showtime series \u003cem>American Gigolo\u003c/em>. It’s a sequel to \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schrader’\u003c/a>s hit 1980 movie, which starred Richard Gere as Julian Kay, a high-end LA escort who gets framed for murder only to be redeemed by the love of a good woman, played by Lauren Hutton.\u003c/p>\n\u003cp>As it mixed potboiler material with ideas of religious transcendence, the film was often silly. But it was also memorable. Bristling with expensive, production-designed amorality, it offered the pounding beat of \u003ca href=\"https://www.npr.org/artists/512831993/blondie\">Blondie \u003c/a>performing “Call Me,” the image of Julian’s closet bursting with Armani clothing—the movie helped launch that brand in America—and the sight of Gere dishing up the first full-frontal nude scene by a male star in a studio film. \u003cem>American Gigolo\u003c/em> was one of those Hollywood “classics” that became mythic without being particularly good.\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/NTavf-5Mdpo'\n title='//www.youtube.com/embed/NTavf-5Mdpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aside from its title, there’s nothing remotely mythic about the new series, which transfers Julian’s story into the 21st Century. Where Schrader created a deliberately opaque metaphorical fantasy, the show’s creator, David Hollander, takes a more literal-minded approach. He fiddles with the original plot, trading in highfalutin glitz for explanatory backstory and a conventional murder mystery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The action begins when Julian—now played by the excellent actor Jon Bernthal—is exonerated for a murder he didn’t commit and gets released from prison after 15 years. Wiser and worn, Julian doesn’t want to return to his slinky old life. He wants to live clean, though he’s also eager to find out who set him up for the murder. This means getting back in touch with people from his gigolo days: his handler Olga, who got him into the business, his escort pal Lorenzo, and his old lover Michelle—that’s Gretchen Mol in the Hutton role—whose son is heading into serious trouble.\u003c/p>\n\u003cp>Predictably, Julian’s return stirs things up. Soon there’s another murder, and before he knows it, a police detective—oddly played by Rosie O’Donnell—looks eager to pin it on him. Nobody seems willing to help Julian, including his old flame Michelle.\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/RLy3OJvMgYg'\n title='//www.youtube.com/embed/RLy3OJvMgYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I heard that they were turning \u003cem>American Gigolo\u003c/em> into a series I was curious but dubious. Schrader himself has called the project a terrible idea, but no matter: He doesn’t own the rights to the characters. In France, artists are protected by the so-called \u003cem>droit moral\u003c/em>, or moral right, which means you can’t take their creations and do with them what you will. But this is America, so the series was made anyway, taking Julian’s story in a direction that Schrader—a complicated, genuinely fascinating man—would surely find banal.\u003c/p>\n\u003cp>Even as Julian’s backstory involves a strange abuse narrative—the show’s shot through with a startling misogyny—he himself becomes muted. Where Gere exuded a smug, plasticine perfection—he came from seemingly nowhere, like a sexy android—Bernthal’s weathered Julian is weighed down by regrets and confusion. He has none of the pop zing that made Julian a cultural touchstone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One reason \u003cem>American Gigolo\u003c/em> resonated in 1980 was that Schrader caught the direction of American culture before most people did. Indeed, the film’s rapt attention to money, consumerism and spiritual emptiness made it the first of many Reagan era morality plays—one that actually came out nine months before Reagan was even elected. It remains an emblem of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I can’t imagine that this will happen with the TV series, which relies too much on people knowing—and caring about—a movie that was made four decades ago. Then again, maybe this new \u003cem>American Gigolo\u003c/em> DOES capture our current American mood. It’s the story of a once cocksure man who now wears T-shirts and drives a borrowed convertible he can’t begin to afford. As Julian looks back on his often glittering past, he wonders exactly what happened to his life and how it all went wrong.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+%27American+Gigolo%27+sequel+lacks+the+highfalutin+glitz+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Queen Elizabeth II Has Died. What Happens Next?",
"headTitle": "Queen Elizabeth II Has Died. What Happens Next? | KQED",
"content": "\u003cp>Queen Elizabeth II died on Sept. 8, 2022, at the age of 96. Questions are now swirling about what that means and the changes that will inevitably happen in the U.K.—and beyond—in the coming weeks.\u003c/p>\n\u003cp>As the resident Brit on the KQED Arts & Culture team, I have been fielding questions from slightly perplexed Americans since the queen’s passing. Here are the answers to some questions you may also have.\u003c/p>\n\u003ch2>\u003cstrong>Is Charles suddenly king?\u003c/strong>\u003c/h2>\n\u003cp>Yes, he is. The moment Queen Elizabeth II died, Charles became King of England. And he’s waited a very long time to become King Charles III. He’s currently 73 years old. By contrast, his mother became queen when she was just 25. Charles’ official coronation will be an elaborate affair that will grind half of London to a halt and be televised internationally. The coronation likely won’t happen for a couple of months, though, out of respect for Queen Elizabeth.\u003c/p>\n\u003ch2>Does the royal family have any actual power?\u003c/h2>\n\u003cp>Basically, no. The reigning monarch is required to sign off on all acts of parliament before they can become law—this is referred to as the royal assent. But the last time a king or queen refused to sign off was all the way back in 1707. Members of the royal family are expected to stay neutral on all political issues, political parties and the U.K.’s prime ministers. There is an understanding that if the royal family started interfering with the democratic political process, it would not end well for them.\u003c/p>\n\u003ch2>What does this mean for Harry and Meghan?\u003c/h2>\n\u003cp>Aside from Harry mourning his grandma, very little. Harry is now fifth in line for the throne, after his big brother William and William’s three children, George, Charlotte and Louis. While William and his wife Kate are now set to become the new Prince and Princess of Wales, Harry and Meghan’s official titles are unlikely to change. There is a possibility that their children may receive Prince and Princess titles now, though. That decision would be up to Charles to offer, and Harry and Meghan to accept.\u003c/p>\n\u003ch2>\u003cstrong>What mourning rituals does Great Britain have in the event of a monarch’s death?\u003c/strong>\u003c/h2>\n\u003cp>The U.K. gets really weird after the death of senior royal family members. The official period of mourning for Queen Elizabeth II will continue from now until seven days after her funeral. The funeral, which is expected in ten days, will bring Britain in its entirety to a standstill. During the official mourning period, flags will be lowered to half-mast on buildings all over the country, and elected politicians are expected to stay quiet on matters unrelated to the queen’s passing. (This is especially strange under the circumstances—Britain got a new prime minister just two days before Elizabeth died.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also during the official mourning period, most British radio and television channels will cease normal programming and broadcast a multitude of tributes to the queen, or songs that err on the sad side. The same goes for electronic billboards, which will replace advertising and traffic information with tributes. This started almost immediately:\u003c/p>\n\u003cfigure id=\"attachment_13918890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1243047008-800x533.jpg\" alt=\"A packed football stadium with stationary soccer players on the field. Overhead, an image of Queen Elizabeth II appears on a big screen.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Queen Elizabeth II is honored during a UEFA soccer match in Switzerland, between FC Zurich and Arsenal FC. She died during the game. \u003ccite>(Marcio Machado/Eurasia Sport Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans of the royal family will also gather outside palaces and leave tributes to the queen in the coming weeks. Official books of condolence (similar to memorial books at funerals) will be left in city halls and other locations around the U.K. for members of the public to sign and leave tributes. (Many thousands of people stood in line for hours to sign Diana’s.)\u003c/p>\n\u003ch2>Why aren’t some people mourning the death of the queen?\u003c/h2>\n\u003cp>Though Elizabeth’s approval rating has always soared above the rest of the British royals, \u003ca href=\"https://www.npr.org/2022/09/12/1122238140/queen-elizabeth-ii-death-commonwealth-countries-colonial-history\" target=\"_blank\" rel=\"noopener noreferrer\">her family’s colonial legacy\u003c/a> is deeply unpopular with younger generations. The monarchy’s very existence has long been a contentious issue in the U.K. Last year, \u003ca href=\"https://yougov.co.uk/topics/politics/articles-reports/2021/05/21/young-britons-are-turning-their-backs-monarchy\" target=\"_blank\" rel=\"noopener noreferrer\">a YouGov poll\u003c/a> calculated that only 61% of the British public was in favor of keeping the royal family. That percentage drops considerably in Wales, Scotland and Northern Ireland—all territories conquered by the English centuries ago. For abolitionists everywhere, Elizabeth was the figurehead of a family that has long outlived its usefulness.\u003c/p>\n\u003ch2>What happens to the corgis?\u003c/h2>\n\u003cp>The queen has kept clusters of corgis around her ever since receiving one of the dogs as an 18th birthday present. (That first one was named Susan by the way. \u003cem>Susan\u003c/em>.) In the years since, Elizabeth has owned more than 30 corgis and at the time of her death, she had four dogs: two corgis, a corgi-dachshund cross named Candy, and a cocker spaniel named Lissy.\u003c/p>\n\u003cfigure id=\"attachment_13918891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-515395626-800x625.jpg\" alt=\"The queen sits smiling broadly, hands clasped in her lap, as a corgi dog gazes up at her.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-1536x1200.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-2048x1600.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-1920x1500.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Elizabeth II with one of her beloved corgis at Sandringham House, England in the 1980s. \u003ccite>(Getty Images/ Bettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No official word yet on what will happen to the dogs, but they are expected to stay with the remaining members of the royal family. Failing that, they may be passed on to trusted members of the queen’s staff who have helped take care of the dogs over the years. In particular, the queen’s close friend and assistant Angela Kelly, or her page Paul Whybrew.\u003c/p>\n\u003ch2>Do people even like Charles?\u003c/h2>\n\u003cp>Not nearly as much as his mother, no. Though Queen Elizabeth asked that Camilla receive the title of “Queen Consort” at the time of Charles’ ascension to the throne, the couple has had a popularity problem for decades. The royal PR machine worked overtime in the early 2000s to make Charles and Camilla more appealing to British citizens. However, the details of their affair during Charles’ marriage to Diana—and the damage that did to his more popular former wife—have not left the public consciousness since first being revealed back in the 1990s. Portrayals of Charles in recent entertainment offerings, including \u003ca href=\"https://www.kqed.org/arts/13889201/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Crown\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13905751/in-spencer-kristen-stewarts-princess-diana-grasps-for-reality-in-order-to-survive\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spencer\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13916622\" target=\"_blank\" rel=\"noopener noreferrer\">The Princess\u003c/a>,\u003c/em> have not helped matters.\u003c/p>\n\u003cp>YouGov currently puts \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Charles\" target=\"_blank\" rel=\"noopener noreferrer\">Charles’ popularity in the UK at 42%\u003c/a>. In the U.S. a 2021 poll found that Charles was viewed favorably by \u003ca href=\"https://ww2.kqed.org/arts/2022/09/07/hardly-strictly-bluegrass-to-return-in-person-to-golden-gate-park-in-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">47% of Americans\u003c/a>—not great when you consider his mother got a 68% rating in the same poll.\u003c/p>\n\u003ch2>Will Britain having a new monarch change anything?\u003c/h2>\n\u003cp>Yes. In Britain, the national anthem, postage stamps, bank notes and coins will all have to change. “God Save the Queen” will have its title and lyrical pronouns adjusted. The Bank of England has also confirmed that it will start transitioning to new currency with Charles’ face on it after the queen’s funeral. The U.K. post office will inevitably do the same with stamps, switching out the queen’s likeness for her son’s. It will be up to other countries that still feature the queen’s face on their currency—Australia, Canada and New Zealand—what they choose to do with their money next.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Queen Elizabeth II was Britain’s longest reigning monarch—her face has been part of everyday British life for more than 70 years. Adjusting to seeing Charles’ everywhere instead is going to take some getting used to for the British people.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Queen Elizabeth II died on Sept. 8, 2022, at the age of 96. Questions are now swirling about what that means and the changes that will inevitably happen in the U.K.—and beyond—in the coming weeks.\u003c/p>\n\u003cp>As the resident Brit on the KQED Arts & Culture team, I have been fielding questions from slightly perplexed Americans since the queen’s passing. Here are the answers to some questions you may also have.\u003c/p>\n\u003ch2>\u003cstrong>Is Charles suddenly king?\u003c/strong>\u003c/h2>\n\u003cp>Yes, he is. The moment Queen Elizabeth II died, Charles became King of England. And he’s waited a very long time to become King Charles III. He’s currently 73 years old. By contrast, his mother became queen when she was just 25. Charles’ official coronation will be an elaborate affair that will grind half of London to a halt and be televised internationally. The coronation likely won’t happen for a couple of months, though, out of respect for Queen Elizabeth.\u003c/p>\n\u003ch2>Does the royal family have any actual power?\u003c/h2>\n\u003cp>Basically, no. The reigning monarch is required to sign off on all acts of parliament before they can become law—this is referred to as the royal assent. But the last time a king or queen refused to sign off was all the way back in 1707. Members of the royal family are expected to stay neutral on all political issues, political parties and the U.K.’s prime ministers. There is an understanding that if the royal family started interfering with the democratic political process, it would not end well for them.\u003c/p>\n\u003ch2>What does this mean for Harry and Meghan?\u003c/h2>\n\u003cp>Aside from Harry mourning his grandma, very little. Harry is now fifth in line for the throne, after his big brother William and William’s three children, George, Charlotte and Louis. While William and his wife Kate are now set to become the new Prince and Princess of Wales, Harry and Meghan’s official titles are unlikely to change. There is a possibility that their children may receive Prince and Princess titles now, though. That decision would be up to Charles to offer, and Harry and Meghan to accept.\u003c/p>\n\u003ch2>\u003cstrong>What mourning rituals does Great Britain have in the event of a monarch’s death?\u003c/strong>\u003c/h2>\n\u003cp>The U.K. gets really weird after the death of senior royal family members. The official period of mourning for Queen Elizabeth II will continue from now until seven days after her funeral. The funeral, which is expected in ten days, will bring Britain in its entirety to a standstill. During the official mourning period, flags will be lowered to half-mast on buildings all over the country, and elected politicians are expected to stay quiet on matters unrelated to the queen’s passing. (This is especially strange under the circumstances—Britain got a new prime minister just two days before Elizabeth died.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also during the official mourning period, most British radio and television channels will cease normal programming and broadcast a multitude of tributes to the queen, or songs that err on the sad side. The same goes for electronic billboards, which will replace advertising and traffic information with tributes. This started almost immediately:\u003c/p>\n\u003cfigure id=\"attachment_13918890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1243047008-800x533.jpg\" alt=\"A packed football stadium with stationary soccer players on the field. Overhead, an image of Queen Elizabeth II appears on a big screen.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Queen Elizabeth II is honored during a UEFA soccer match in Switzerland, between FC Zurich and Arsenal FC. She died during the game. \u003ccite>(Marcio Machado/Eurasia Sport Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans of the royal family will also gather outside palaces and leave tributes to the queen in the coming weeks. Official books of condolence (similar to memorial books at funerals) will be left in city halls and other locations around the U.K. for members of the public to sign and leave tributes. (Many thousands of people stood in line for hours to sign Diana’s.)\u003c/p>\n\u003ch2>Why aren’t some people mourning the death of the queen?\u003c/h2>\n\u003cp>Though Elizabeth’s approval rating has always soared above the rest of the British royals, \u003ca href=\"https://www.npr.org/2022/09/12/1122238140/queen-elizabeth-ii-death-commonwealth-countries-colonial-history\" target=\"_blank\" rel=\"noopener noreferrer\">her family’s colonial legacy\u003c/a> is deeply unpopular with younger generations. The monarchy’s very existence has long been a contentious issue in the U.K. Last year, \u003ca href=\"https://yougov.co.uk/topics/politics/articles-reports/2021/05/21/young-britons-are-turning-their-backs-monarchy\" target=\"_blank\" rel=\"noopener noreferrer\">a YouGov poll\u003c/a> calculated that only 61% of the British public was in favor of keeping the royal family. That percentage drops considerably in Wales, Scotland and Northern Ireland—all territories conquered by the English centuries ago. For abolitionists everywhere, Elizabeth was the figurehead of a family that has long outlived its usefulness.\u003c/p>\n\u003ch2>What happens to the corgis?\u003c/h2>\n\u003cp>The queen has kept clusters of corgis around her ever since receiving one of the dogs as an 18th birthday present. (That first one was named Susan by the way. \u003cem>Susan\u003c/em>.) In the years since, Elizabeth has owned more than 30 corgis and at the time of her death, she had four dogs: two corgis, a corgi-dachshund cross named Candy, and a cocker spaniel named Lissy.\u003c/p>\n\u003cfigure id=\"attachment_13918891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-515395626-800x625.jpg\" alt=\"The queen sits smiling broadly, hands clasped in her lap, as a corgi dog gazes up at her.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-1536x1200.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-2048x1600.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-515395626-1920x1500.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Elizabeth II with one of her beloved corgis at Sandringham House, England in the 1980s. \u003ccite>(Getty Images/ Bettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No official word yet on what will happen to the dogs, but they are expected to stay with the remaining members of the royal family. Failing that, they may be passed on to trusted members of the queen’s staff who have helped take care of the dogs over the years. In particular, the queen’s close friend and assistant Angela Kelly, or her page Paul Whybrew.\u003c/p>\n\u003ch2>Do people even like Charles?\u003c/h2>\n\u003cp>Not nearly as much as his mother, no. Though Queen Elizabeth asked that Camilla receive the title of “Queen Consort” at the time of Charles’ ascension to the throne, the couple has had a popularity problem for decades. The royal PR machine worked overtime in the early 2000s to make Charles and Camilla more appealing to British citizens. However, the details of their affair during Charles’ marriage to Diana—and the damage that did to his more popular former wife—have not left the public consciousness since first being revealed back in the 1990s. Portrayals of Charles in recent entertainment offerings, including \u003ca href=\"https://www.kqed.org/arts/13889201/season-4-of-the-crown-introduces-princess-diana-and-more-juicy-drama\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Crown\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13905751/in-spencer-kristen-stewarts-princess-diana-grasps-for-reality-in-order-to-survive\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spencer\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13916622\" target=\"_blank\" rel=\"noopener noreferrer\">The Princess\u003c/a>,\u003c/em> have not helped matters.\u003c/p>\n\u003cp>YouGov currently puts \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Charles\" target=\"_blank\" rel=\"noopener noreferrer\">Charles’ popularity in the UK at 42%\u003c/a>. In the U.S. a 2021 poll found that Charles was viewed favorably by \u003ca href=\"https://ww2.kqed.org/arts/2022/09/07/hardly-strictly-bluegrass-to-return-in-person-to-golden-gate-park-in-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">47% of Americans\u003c/a>—not great when you consider his mother got a 68% rating in the same poll.\u003c/p>\n\u003ch2>Will Britain having a new monarch change anything?\u003c/h2>\n\u003cp>Yes. In Britain, the national anthem, postage stamps, bank notes and coins will all have to change. “God Save the Queen” will have its title and lyrical pronouns adjusted. The Bank of England has also confirmed that it will start transitioning to new currency with Charles’ face on it after the queen’s funeral. The U.K. post office will inevitably do the same with stamps, switching out the queen’s likeness for her son’s. It will be up to other countries that still feature the queen’s face on their currency—Australia, Canada and New Zealand—what they choose to do with their money next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Queen Elizabeth II was Britain’s longest reigning monarch—her face has been part of everyday British life for more than 70 years. Adjusting to seeing Charles’ everywhere instead is going to take some getting used to for the British people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Does Controversy Sell Movie Tickets? The Cast of 'Don't Worry Darling' Might Find Out",
"headTitle": "Does Controversy Sell Movie Tickets? The Cast of ‘Don’t Worry Darling’ Might Find Out | KQED",
"content": "\u003cp>The 2022 Venice Film Festival started a little over a week ago, and one film has dominated much of the conversation\u003cstrong>—\u003c/strong>not because of its cinematography, editing or script, but because of reported behind-the-scenes drama that’s stolen the spotlight.\u003c/p>\n\u003cp>\u003cem>Don’t Worry Darling\u003c/em> is director Olivia Wilde’s second feature film, following her 2019 debut, \u003cem>Booksmart\u003c/em>. The movie, which stars Florence Pugh, Harry Styles, Chris Pine, Gemma Chan and Wilde herself, premiered on Monday at the festival and is scheduled for wide release on Sept. 23.\u003c/p>\n\u003cp>[aside postid='pop_112069']The film is a psychological thriller set in the 1950s, in the fictional town of Victory, California. Pugh and Styles play Alice and Jack, a married couple who live in the town, which was built by the company Jack works for. As Alice tries to learn more about her community, tensions begin to arise between her and her new neighbors.\u003c/p>\n\u003cp>Reportedly, the production of the film had also been filled with tension, and interactions between the stars at Venice left the internet to speculate wildly.\u003c/p>\n\u003cp>“Some aspects of the unfolding interpersonal drama definitely appear like an unwieldy mess,” Nicholas Baer, Assistant Professor of Media, Arts & Society at Utrecht University, told NPR. “So although it’s always tricky to gauge intentionality, I’d imagine it’s a combination of ‘authentic’ drama and savvy image manipulation.”\u003c/p>\n\u003ch3>The memes begin at the Venice Film Festival\u003c/h3>\n\u003cp>On Monday morning ahead of the premiere, Wilde and the film’s stars participated in a press conference—most of them, that is. Absent from the panel was Pugh, who flew to Italy from Budapest where she had been filming the sequel to \u003cem>Dune\u003c/em>. \u003ca href=\"https://variety.com/2022/film/news/florence-pugh-skips-dont-worry-darling-venice-film-festival-1235360015/\" target=\"_blank\" rel=\"noopener noreferrer\">Festival representatives told \u003cem>Variety \u003c/em>\u003c/a>that her nonattendance was because her flight to Italy wouldn’t land until after the presser had taken place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pugh has not spoken much about the film \u003ca href=\"https://screenrant.com/florence-pugh-olivia-wilde-feud-dont-worry-darling/\" target=\"_blank\" rel=\"noopener noreferrer\">on social media or to press \u003c/a>since it finished filming, which has led to speculation that she did not enjoy her time on set.\u003c/p>\n\u003cp>[aside postid='arts_13883932']The press had many questions for Wilde regarding her working relationship with Pugh and, in response, the director praised the actress for her work. “I can’t say how honored I am to have her as our lead. She’s amazing.”\u003c/p>\n\u003cp>When asked about working on the film, Harry Styles—who is dating Wilde—gave a response that the internet is still trying to understand: “The thing I like about the movie is that it feels like a movie.” Chris Pine’s reaction to this moment birthed memes that would pave the way for many more to come.\u003c/p>\n\u003cp>https://twitter.com/rohmerfilm/status/1566799179694964737\u003c/p>\n\u003cp>https://twitter.com/fiImgal/status/1566791599706759168\u003c/p>\n\u003ch3>Florence Pugh toasts the internet\u003c/h3>\n\u003cp>Pugh later arrived at the festival in time for the film’s red carpet premiere. In a video originally posted to \u003ca href=\"https://www.instagram.com/p/CiIDYqFjXRo/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, Pugh was seen toasting the camera while carrying an Aperol Spritz in a purple Valentino ensemble—a carefree look that sparked yet more buzz.\u003c/p>\n\u003cp>https://twitter.com/goldenheartvhes/status/1566772285729562625\u003c/p>\n\u003ch3>Across the great divide on the red carpet\u003c/h3>\n\u003cp>The night of the film’s premiere began relatively lightheartedly, with Chris Pine taking pictures of Florence Pugh on the red carpet.\u003c/p>\n\u003cp>https://twitter.com/cpinedaily/status/1566841486519549954\u003c/p>\n\u003cp>But then, as the cast began getting ready for a group photo on the red carpet, it appeared that Pugh, Wilde and Styles were strategically separated by fellow actors Pine, Chan, Sydney Chandler and Nick Kroll.\u003c/p>\n\u003cp>https://twitter.com/cpinedaily/status/1566843411788926978\u003c/p>\n\u003ch3>Could all of this be a PR stunt? Experts weigh in\u003c/h3>\n\u003cp>Internet speculation didn’t stop once the cast went into the theater. The actors were placed in a seating arrangement closely resembling the cast photo, and Chris Pine once again continued his run at the top of the meme leaderboard as he put on his sunglasses just as the lights went down in the theater.\u003c/p>\n\u003cp>https://twitter.com/tracesofswift/status/1566859141905321992\u003c/p>\n\u003cp>This brings us to a hotly debated moment between Harry Styles and Chris Pine. In a video circulated on social media, Styles approached his seat next to Pine and appeared to lean slightly over, with his lips moving in a puckering motion—then, a moment where Pine stopped clapping, looked down at his lap and laughed. The suspicious movement around Styles’ mouth made some wonder: Did Harry Styles spit on Chris Pine?\u003c/p>\n\u003cp>Although Pine’s publicist told \u003cem>People \u003c/em>that \u003ca href=\"https://people.com/movies/chris-pine-harry-styles-spitting-viral-video-ridiculous-claim-dont-worry-darling-exclusive/\" target=\"_blank\" rel=\"noopener noreferrer\">such claims are “complete fabrication,”\u003c/a> the video regardless sent the internet into an uproar of \u003ca href=\"https://twitter.com/indiespicee/status/1566982189547458560\" target=\"_blank\" rel=\"noopener noreferrer\">jokes\u003c/a>,\u003ca href=\"https://twitter.com/Mac70J/status/1566958343461249024\" target=\"_blank\" rel=\"noopener noreferrer\"> takes\u003c/a> and slo-mo’ed \u003ca href=\"https://twitter.com/StevenWallaby/status/1566958106009128960\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a>. Analyzing the videos of #Spittake, as some users have put it, has become the Zapruder film of Twitter.\u003c/p>\n\u003cp>https://twitter.com/indiespicee/status/1567128008833601539\u003c/p>\n\u003cp>https://twitter.com/DanaSchwartzzz/status/1566988496530972672\u003c/p>\n\u003cp>The film has generally not been well received by critics, and there continues to be heavy speculation online that all of this press has been drummed up to help create a buzz for the film.\u003c/p>\n\u003cp>https://twitter.com/ThePopTingz/status/1566852336160481282\u003c/p>\n\u003cp>“As a communications guy, my gut reaction to this kind of thing when it is on an international stage is that it is all about getting attention,” says film and media historian Chris Yogerst. “Of course, we learned there was more to the story with the notorious Oscars slap. That may be the case here as well, but because there were many smiles all around, my guess is that this is a PR move or an inside joke of some kind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A lot of speculation and confusion surrounds what is really going on behind the scenes in the movie, which runs parallel with themes seen in the film, Baer said—”a focus on polished appearances and the cracks in attractive facades.”\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=Does+controversy+sell+movie+tickets%3F+The+cast+of+%27Don%27t+Worry+Darling%27+might+find+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2022 Venice Film Festival started a little over a week ago, and one film has dominated much of the conversation\u003cstrong>—\u003c/strong>not because of its cinematography, editing or script, but because of reported behind-the-scenes drama that’s stolen the spotlight.\u003c/p>\n\u003cp>\u003cem>Don’t Worry Darling\u003c/em> is director Olivia Wilde’s second feature film, following her 2019 debut, \u003cem>Booksmart\u003c/em>. The movie, which stars Florence Pugh, Harry Styles, Chris Pine, Gemma Chan and Wilde herself, premiered on Monday at the festival and is scheduled for wide release on Sept. 23.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is a psychological thriller set in the 1950s, in the fictional town of Victory, California. Pugh and Styles play Alice and Jack, a married couple who live in the town, which was built by the company Jack works for. As Alice tries to learn more about her community, tensions begin to arise between her and her new neighbors.\u003c/p>\n\u003cp>Reportedly, the production of the film had also been filled with tension, and interactions between the stars at Venice left the internet to speculate wildly.\u003c/p>\n\u003cp>“Some aspects of the unfolding interpersonal drama definitely appear like an unwieldy mess,” Nicholas Baer, Assistant Professor of Media, Arts & Society at Utrecht University, told NPR. “So although it’s always tricky to gauge intentionality, I’d imagine it’s a combination of ‘authentic’ drama and savvy image manipulation.”\u003c/p>\n\u003ch3>The memes begin at the Venice Film Festival\u003c/h3>\n\u003cp>On Monday morning ahead of the premiere, Wilde and the film’s stars participated in a press conference—most of them, that is. Absent from the panel was Pugh, who flew to Italy from Budapest where she had been filming the sequel to \u003cem>Dune\u003c/em>. \u003ca href=\"https://variety.com/2022/film/news/florence-pugh-skips-dont-worry-darling-venice-film-festival-1235360015/\" target=\"_blank\" rel=\"noopener noreferrer\">Festival representatives told \u003cem>Variety \u003c/em>\u003c/a>that her nonattendance was because her flight to Italy wouldn’t land until after the presser had taken place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pugh has not spoken much about the film \u003ca href=\"https://screenrant.com/florence-pugh-olivia-wilde-feud-dont-worry-darling/\" target=\"_blank\" rel=\"noopener noreferrer\">on social media or to press \u003c/a>since it finished filming, which has led to speculation that she did not enjoy her time on set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The press had many questions for Wilde regarding her working relationship with Pugh and, in response, the director praised the actress for her work. “I can’t say how honored I am to have her as our lead. She’s amazing.”\u003c/p>\n\u003cp>When asked about working on the film, Harry Styles—who is dating Wilde—gave a response that the internet is still trying to understand: “The thing I like about the movie is that it feels like a movie.” Chris Pine’s reaction to this moment birthed memes that would pave the way for many more to come.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Florence Pugh toasts the internet\u003c/h3>\n\u003cp>Pugh later arrived at the festival in time for the film’s red carpet premiere. In a video originally posted to \u003ca href=\"https://www.instagram.com/p/CiIDYqFjXRo/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, Pugh was seen toasting the camera while carrying an Aperol Spritz in a purple Valentino ensemble—a carefree look that sparked yet more buzz.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Across the great divide on the red carpet\u003c/h3>\n\u003cp>The night of the film’s premiere began relatively lightheartedly, with Chris Pine taking pictures of Florence Pugh on the red carpet.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But then, as the cast began getting ready for a group photo on the red carpet, it appeared that Pugh, Wilde and Styles were strategically separated by fellow actors Pine, Chan, Sydney Chandler and Nick Kroll.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Could all of this be a PR stunt? Experts weigh in\u003c/h3>\n\u003cp>Internet speculation didn’t stop once the cast went into the theater. The actors were placed in a seating arrangement closely resembling the cast photo, and Chris Pine once again continued his run at the top of the meme leaderboard as he put on his sunglasses just as the lights went down in the theater.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This brings us to a hotly debated moment between Harry Styles and Chris Pine. In a video circulated on social media, Styles approached his seat next to Pine and appeared to lean slightly over, with his lips moving in a puckering motion—then, a moment where Pine stopped clapping, looked down at his lap and laughed. The suspicious movement around Styles’ mouth made some wonder: Did Harry Styles spit on Chris Pine?\u003c/p>\n\u003cp>Although Pine’s publicist told \u003cem>People \u003c/em>that \u003ca href=\"https://people.com/movies/chris-pine-harry-styles-spitting-viral-video-ridiculous-claim-dont-worry-darling-exclusive/\" target=\"_blank\" rel=\"noopener noreferrer\">such claims are “complete fabrication,”\u003c/a> the video regardless sent the internet into an uproar of \u003ca href=\"https://twitter.com/indiespicee/status/1566982189547458560\" target=\"_blank\" rel=\"noopener noreferrer\">jokes\u003c/a>,\u003ca href=\"https://twitter.com/Mac70J/status/1566958343461249024\" target=\"_blank\" rel=\"noopener noreferrer\"> takes\u003c/a> and slo-mo’ed \u003ca href=\"https://twitter.com/StevenWallaby/status/1566958106009128960\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a>. Analyzing the videos of #Spittake, as some users have put it, has become the Zapruder film of Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The film has generally not been well received by critics, and there continues to be heavy speculation online that all of this press has been drummed up to help create a buzz for the film.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“As a communications guy, my gut reaction to this kind of thing when it is on an international stage is that it is all about getting attention,” says film and media historian Chris Yogerst. “Of course, we learned there was more to the story with the notorious Oscars slap. That may be the case here as well, but because there were many smiles all around, my guess is that this is a PR move or an inside joke of some kind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A lot of speculation and confusion surrounds what is really going on behind the scenes in the movie, which runs parallel with themes seen in the film, Baer said—”a focus on polished appearances and the cracks in attractive facades.”\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=Does+controversy+sell+movie+tickets%3F+The+cast+of+%27Don%27t+Worry+Darling%27+might+find+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Brendan Fraser's Hollywood Comeback Story is Both Warming Hearts and Raising Ire",
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"content": "\u003cp>Brendan Fraser is officially on a comeback.\u003c/p>\n\u003cp>\u003cem>The Whale\u003c/em>, a new Darren Aronofsky film in which Fraser stars, premiered at the Venice Film Festival Sunday night to a \u003ca href=\"https://www.npr.org/2022/09/05/1121100965/brendan-fraser-standing-ovation-the-whale\" target=\"_blank\" rel=\"noopener noreferrer\">six-minute standing ovation.\u003c/a>\u003c/p>\n\u003cp>Actors and longtime fans alike took to social media to share their own happiness at the recognition Fraser received with this latest role. As the applause continued for Fraser on Sunday, the actor and some audience members appeared to get choked up.\u003c/p>\n\u003cp>This comes years after Fraser was at the height of his career. So, why has this moment has brought so many people joy at the same time that others lament the fact that \u003cem>this film\u003c/em> is Fraser’s return to stardom?\u003c/p>\n\u003cp>Fraser was once a major star with hits such as \u003cem>George of the Jungle \u003c/em>and \u003cem>The Mummy \u003c/em>franchise. But after a sustained run as one of Hollywood’s leading men, Fraser receded to the sidelines of TV and film in recent years.\u003c/p>\n\u003cfigure id=\"attachment_13918750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-806483-ebf98b3b6a4331742265cb393e022c06c07ac36e-800x600.jpg\" alt=\"A dashing young man wearing a white shirt, sleeves rolled up, stands poised for action, two ancient-looking weapons held out in front of him.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in ‘The Mummy Returns.’ \u003ccite>(Keith Hamshere/Universal Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Fraser who was so “universally loved” by the public for so long receive praise resonated with fans, according to film and media historian Chris Yogerst.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s almost like the public was just waiting for this moment,” said Yogerst. “Everyone has missed him. Seeing him back on the screen, it was like an old friend was back.”\u003c/p>\n\u003cp>Nostalgia certainly plays into the joy this moment brings to some people, Yogerst said.\u003c/p>\n\u003cp>“I mean, I’m still nostalgic about the silly remake of \u003cem>Bedazzled,” \u003c/em>a Fraser movie with Elizabeth Hurley that came out in 2000, Yogerst said.\u003c/p>\n\u003cp>Part of this collective happiness also stems from knowledge of Fraser’s recent struggles, according to Nicholas Baer, an assistant professor of film studies at the University of Groningen in the Netherlands.\u003c/p>\n\u003cp>After Fraser was absent from any big Hollywood movie for several years, \u003ca href=\"https://www.gq.com/story/what-ever-happened-to-brendan-fraser\">\u003cem>GQ\u003c/em> published a profile\u003c/a> in 2018 of the actor titled, “What ever happened to Brendan Fraser?”\u003c/p>\n\u003cp>[aside postid='arts_13917642']In it, Fraser discussed years of suffering from injuries (sustained from performing stunts during filming of \u003cem>The Mummy\u003c/em> franchise), subsequent surgeries, personal loss and a divorce. Most startling were details Fraser shared of being allegedly groped by Philip Berk, a former president of the Hollywood Foreign Press Association. Berk told \u003cem>GQ \u003c/em>that Fraser’s account was “a total fabrication.”\u003c/p>\n\u003cp>Fraser in the \u003cem>GQ \u003c/em>article openly questioned whether he was actually blacklisted from Hollywood because he came forward about his experience.\u003c/p>\n\u003cp>“[\u003cem>The Whale\u003c/em>] is offering us an opportunity to kind of recognize the virtue and the kind of fundamental decency of Brendan Fraser, who has been really wronged by the industry and has long suffered,” Baer said.\u003c/p>\n\u003ch3>A comeback with controversy\u003c/h3>\n\u003cp>\u003cem>The Whale\u003c/em> is about a reclusive English teacher (Fraser) who weighs 600 pounds, and as he struggles with his health, tries to reconnect with his estranged daughter. A combination of prosthetics and CGI help Fraser as he portrays this character.\u003c/p>\n\u003cp>Fraser’s return will likely be controversial for some, Baer noted.\u003c/p>\n\u003cp>“I think it’s definitely going to be a point of contention in the discourse. I think it’s a practice [the use of prosthetics or so-called fat suits] that has been relatively commonplace among major Hollywood actors for a long time and that’s been increasingly criticized for being fat phobic and offensive,” Baer said.\u003c/p>\n\u003cp>Indeed, critics have turned to social media to say that the movie’s premise is inherently dehumanizing. There’s a question of whether it should have been made at all.\u003c/p>\n\u003cp>https://twitter.com/PiaGlenn/status/1566654645795037184\u003c/p>\n\u003cp>Aubrey Gordon, an author and co-host of the Maintenance Phase, a podcast focused on debunking health fads, \u003ca href=\"https://twitter.com/yrfatfriend/status/1566883797014302720\" target=\"_blank\" rel=\"noopener noreferrer\">took to Twitter\u003c/a> to call out the movie’s aim.\u003c/p>\n\u003cp>“It’s so telling that so many only see fat people as ‘humanized’ in media that shows us doing exactly what they expect: living short, small lives; ‘eating ourselves to death’; feeling sad & regretful. All reminders of how tragic it is to be fat, and how superior it is to be thin,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13917695']This kind of media just “reinforces viewers’ anti-fat bias,” she wrote.\u003c/p>\n\u003cp>Pia Glenn, a Broadway actress, also criticized the movie, \u003ca href=\"https://twitter.com/PiaGlenn/status/1566654645795037184\" target=\"_blank\" rel=\"noopener noreferrer\">lamenting the fact \u003c/a>that this film is Fraser’s comeback.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mr. Fraser’s ‘comeback’ and personal journey as an actor and human are significant and I hate that I feel so negatively about the project that brought them about. I know I won’t see it, so I’ve been reading reviews,” she wrote on Twitter. “References to rolls and hanging flesh and Jabba the Hut (!) NO.”\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=Why+Brendan+Fraser%27s+Hollywood+comeback+story+is+both+warming+hearts+and+raising+ire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brendan Fraser is officially on a comeback.\u003c/p>\n\u003cp>\u003cem>The Whale\u003c/em>, a new Darren Aronofsky film in which Fraser stars, premiered at the Venice Film Festival Sunday night to a \u003ca href=\"https://www.npr.org/2022/09/05/1121100965/brendan-fraser-standing-ovation-the-whale\" target=\"_blank\" rel=\"noopener noreferrer\">six-minute standing ovation.\u003c/a>\u003c/p>\n\u003cp>Actors and longtime fans alike took to social media to share their own happiness at the recognition Fraser received with this latest role. As the applause continued for Fraser on Sunday, the actor and some audience members appeared to get choked up.\u003c/p>\n\u003cp>This comes years after Fraser was at the height of his career. So, why has this moment has brought so many people joy at the same time that others lament the fact that \u003cem>this film\u003c/em> is Fraser’s return to stardom?\u003c/p>\n\u003cp>Fraser was once a major star with hits such as \u003cem>George of the Jungle \u003c/em>and \u003cem>The Mummy \u003c/em>franchise. But after a sustained run as one of Hollywood’s leading men, Fraser receded to the sidelines of TV and film in recent years.\u003c/p>\n\u003cfigure id=\"attachment_13918750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-806483-ebf98b3b6a4331742265cb393e022c06c07ac36e-800x600.jpg\" alt=\"A dashing young man wearing a white shirt, sleeves rolled up, stands poised for action, two ancient-looking weapons held out in front of him.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in ‘The Mummy Returns.’ \u003ccite>(Keith Hamshere/Universal Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Fraser who was so “universally loved” by the public for so long receive praise resonated with fans, according to film and media historian Chris Yogerst.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In it, Fraser discussed years of suffering from injuries (sustained from performing stunts during filming of \u003cem>The Mummy\u003c/em> franchise), subsequent surgeries, personal loss and a divorce. Most startling were details Fraser shared of being allegedly groped by Philip Berk, a former president of the Hollywood Foreign Press Association. Berk told \u003cem>GQ \u003c/em>that Fraser’s account was “a total fabrication.”\u003c/p>\n\u003cp>Fraser in the \u003cem>GQ \u003c/em>article openly questioned whether he was actually blacklisted from Hollywood because he came forward about his experience.\u003c/p>\n\u003cp>“[\u003cem>The Whale\u003c/em>] is offering us an opportunity to kind of recognize the virtue and the kind of fundamental decency of Brendan Fraser, who has been really wronged by the industry and has long suffered,” Baer said.\u003c/p>\n\u003ch3>A comeback with controversy\u003c/h3>\n\u003cp>\u003cem>The Whale\u003c/em> is about a reclusive English teacher (Fraser) who weighs 600 pounds, and as he struggles with his health, tries to reconnect with his estranged daughter. A combination of prosthetics and CGI help Fraser as he portrays this character.\u003c/p>\n\u003cp>Fraser’s return will likely be controversial for some, Baer noted.\u003c/p>\n\u003cp>“I think it’s definitely going to be a point of contention in the discourse. I think it’s a practice [the use of prosthetics or so-called fat suits] that has been relatively commonplace among major Hollywood actors for a long time and that’s been increasingly criticized for being fat phobic and offensive,” Baer said.\u003c/p>\n\u003cp>Indeed, critics have turned to social media to say that the movie’s premise is inherently dehumanizing. There’s a question of whether it should have been made at all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Aubrey Gordon, an author and co-host of the Maintenance Phase, a podcast focused on debunking health fads, \u003ca href=\"https://twitter.com/yrfatfriend/status/1566883797014302720\" target=\"_blank\" rel=\"noopener noreferrer\">took to Twitter\u003c/a> to call out the movie’s aim.\u003c/p>\n\u003cp>“It’s so telling that so many only see fat people as ‘humanized’ in media that shows us doing exactly what they expect: living short, small lives; ‘eating ourselves to death’; feeling sad & regretful. All reminders of how tragic it is to be fat, and how superior it is to be thin,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This kind of media just “reinforces viewers’ anti-fat bias,” she wrote.\u003c/p>\n\u003cp>Pia Glenn, a Broadway actress, also criticized the movie, \u003ca href=\"https://twitter.com/PiaGlenn/status/1566654645795037184\" target=\"_blank\" rel=\"noopener noreferrer\">lamenting the fact \u003c/a>that this film is Fraser’s comeback.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mr. Fraser’s ‘comeback’ and personal journey as an actor and human are significant and I hate that I feel so negatively about the project that brought them about. I know I won’t see it, so I’ve been reading reviews,” she wrote on Twitter. “References to rolls and hanging flesh and Jabba the Hut (!) NO.”\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=Why+Brendan+Fraser%27s+Hollywood+comeback+story+is+both+warming+hearts+and+raising+ire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "That Wasn't Beyoncé at the U.S. Open—It was Laverne Cox, and She's Flattered",
"headTitle": "That Wasn’t Beyoncé at the U.S. Open—It was Laverne Cox, and She’s Flattered | KQED",
"content": "\u003cp>Tennis legend Serena Williams drew a star-studded set of spectators to her first-round U.S. Open match—and possibly \u003ca href=\"https://www.npr.org/2022/08/30/1120023719/serena-williams-has-left-an-indelible-mark-on-tennis\" target=\"_blank\" rel=\"noopener noreferrer\">last pro tournament\u003c/a>—on Sunday night, from former president Bill Clinton and actress Queen Latifah to tennis star Coco Gauff and \u003cem>Vogue\u003c/em> editor Anna Wintour.\u003c/p>\n\u003cp>So it wouldn’t have been a total stretch to spot her friend Beyoncé—who narrated \u003ca href=\"https://twitter.com/parkwood/status/1564336120636223489?s=20&t=JjIX7qM_u0eSGc6cdJhIJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a new Gatorade commercial\u003c/a> honoring Williams’ legacy—in the stands too. In fact, some watching at home thought they did.\u003c/p>\n\u003cp>“#Beyonce at the #USOpen,” tweeted \u003ca href=\"https://twitter.com/Choni_/status/1564398225099853826?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\" target=\"_blank\" rel=\"noopener noreferrer\">the account @Choni\u003c/a>, alongside a video of a Black woman in hoop earrings and a face mask reacting with the crowd.\u003c/p>\n\u003cp>https://twitter.com/Choni_/status/1564398225099853826?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\u003c/p>\n\u003cp>Only Queen Bey it was not. As fans pointed out—and the original poster quickly clarified—the video actually showed Laverne Cox, the actress, Emmy Award-winning producer and LGTBQ advocate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cox seemed amused by the mix-up and ensuing reaction, even reposting the video \u003ca href=\"https://www.instagram.com/p/Ch3iVaxOCEz/?hl=en\">on her Instagram account\u003c/a>.\u003c/p>\n\u003cp>“Not me getting mistaken for \u003ca href=\"https://www.instagram.com/Beyonce/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@Beyonce\u003c/a> at the #USOpen tonight then trending on Twitter as the internet cackles over the mistaken identity,” she wrote. “These tweets are funny as hell. Enjoy!!!”\u003c/p>\n\u003cp>https://www.instagram.com/p/Ch3iVaxOCEz/\u003c/p>\n\u003cp>Instances of misidentification are often not funny. They overwhelmingly \u003ca href=\"https://www.npr.org/2022/04/13/1092687268/ali-wongs-divorce-news-causes-another-case-of-wrongasian\" target=\"_blank\" rel=\"noopener noreferrer\">plague people of color\u003c/a> in the workplace and in the media, including some recent high-profile cases—one of which involved Williams herself.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> mistakenly ran a photo of her sister Venus next to a story about her venture firm raising $111 million earlier this year, prompting Williams to share that she was working to support founders overlooked by biased systems “because even I am overlooked.”\u003c/p>\n\u003cp>https://twitter.com/serenawilliams/status/1499058086165639169?s=20&t=ASZeGpmWeszL04QHz0xNsA\u003c/p>\n\u003cp>This particular mistake was better received. Cox didn’t just seem to take it in stride but as a compliment.\u003c/p>\n\u003cp>Notably, Cox has made no secret of her admiration for the pop star. Just hours earlier, in fact, she had \u003ca href=\"https://www.instagram.com/p/Ch28eF9AvOn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">shared a video of herself\u003c/a> getting ready for the U.S. Open with a Beyoncé song playing in the background. She’s also impersonated Beyoncé in the past—albeit more intentionally—in a memorable Lip Sync Battle performance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ComnkXaoMns\u003c/p>\n\u003cp>“Everybody knows that I live for Beyoncé,” she \u003ca href=\"https://www.etonline.com/media/videos/why-laverne-cox-chose-promising-young-woman-over-presenting-an-award-to-beyonce-158322\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Entertainment Tonight\u003c/em>\u003c/a> in 2020. “I try not to worship gods on earth, or goddesses, but I worship Beyoncé.”\u003c/p>\n\u003cp>Many fans shared in that appreciation online, tweeting about how flattered Cox must be. Some even said that they saw the resemblance, too.\u003c/p>\n\u003cp>https://twitter.com/ThereGoesBJ/status/1564420920831365120\u003c/p>\n\u003cp>Choni, who first shared the video, \u003ca href=\"https://twitter.com/Choni_/status/1564436776898334720?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\" target=\"_blank\" rel=\"noopener noreferrer\">later wrote\u003c/a> that they were starting to think the mix-up might “actually be ok,” but would give it 24 hours to see. So far, that seems to be the case.\u003c/p>\n\u003cp>[aside postid='arts_13911935']Sports and culture writer David Dennis, Jr. was one of the people who seemed to think so. He called Cox the second biggest winner of the night (after Williams, of course, who defeated Danka Kovinic 6-3, 6-3).\u003c/p>\n\u003cp>“Laverne Cox … was mistaken for Beyoncé all night,” \u003ca href=\"https://twitter.com/DavidDTSS/status/1564426562191216641?s=20&t=23JWSKAUxqzyliCgKZZixQ\" target=\"_blank\" rel=\"noopener noreferrer\">he tweeted\u003c/a>. “Which is a career highlight for literally anyone.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Absolutely!” \u003ca href=\"https://twitter.com/Lavernecox/status/1564428839505338368?s=20&t=asuQsc1iA9RL7dB1AiFPKw\" target=\"_blank\" rel=\"noopener noreferrer\">Cox agreed\u003c/a>.\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=No%2C+that+wasn%27t+Beyonc%C3%A9+at+the+U.S.+Open.+It+was+Laverne+Cox%2C+and+she%27s+flattered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tennis legend Serena Williams drew a star-studded set of spectators to her first-round U.S. Open match—and possibly \u003ca href=\"https://www.npr.org/2022/08/30/1120023719/serena-williams-has-left-an-indelible-mark-on-tennis\" target=\"_blank\" rel=\"noopener noreferrer\">last pro tournament\u003c/a>—on Sunday night, from former president Bill Clinton and actress Queen Latifah to tennis star Coco Gauff and \u003cem>Vogue\u003c/em> editor Anna Wintour.\u003c/p>\n\u003cp>So it wouldn’t have been a total stretch to spot her friend Beyoncé—who narrated \u003ca href=\"https://twitter.com/parkwood/status/1564336120636223489?s=20&t=JjIX7qM_u0eSGc6cdJhIJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a new Gatorade commercial\u003c/a> honoring Williams’ legacy—in the stands too. In fact, some watching at home thought they did.\u003c/p>\n\u003cp>“#Beyonce at the #USOpen,” tweeted \u003ca href=\"https://twitter.com/Choni_/status/1564398225099853826?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\" target=\"_blank\" rel=\"noopener noreferrer\">the account @Choni\u003c/a>, alongside a video of a Black woman in hoop earrings and a face mask reacting with the crowd.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Only Queen Bey it was not. As fans pointed out—and the original poster quickly clarified—the video actually showed Laverne Cox, the actress, Emmy Award-winning producer and LGTBQ advocate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cox seemed amused by the mix-up and ensuing reaction, even reposting the video \u003ca href=\"https://www.instagram.com/p/Ch3iVaxOCEz/?hl=en\">on her Instagram account\u003c/a>.\u003c/p>\n\u003cp>“Not me getting mistaken for \u003ca href=\"https://www.instagram.com/Beyonce/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@Beyonce\u003c/a> at the #USOpen tonight then trending on Twitter as the internet cackles over the mistaken identity,” she wrote. “These tweets are funny as hell. Enjoy!!!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Instances of misidentification are often not funny. They overwhelmingly \u003ca href=\"https://www.npr.org/2022/04/13/1092687268/ali-wongs-divorce-news-causes-another-case-of-wrongasian\" target=\"_blank\" rel=\"noopener noreferrer\">plague people of color\u003c/a> in the workplace and in the media, including some recent high-profile cases—one of which involved Williams herself.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> mistakenly ran a photo of her sister Venus next to a story about her venture firm raising $111 million earlier this year, prompting Williams to share that she was working to support founders overlooked by biased systems “because even I am overlooked.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This particular mistake was better received. Cox didn’t just seem to take it in stride but as a compliment.\u003c/p>\n\u003cp>Notably, Cox has made no secret of her admiration for the pop star. Just hours earlier, in fact, she had \u003ca href=\"https://www.instagram.com/p/Ch28eF9AvOn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">shared a video of herself\u003c/a> getting ready for the U.S. Open with a Beyoncé song playing in the background. She’s also impersonated Beyoncé in the past—albeit more intentionally—in a memorable Lip Sync Battle performance.\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/ComnkXaoMns'\n title='//www.youtube.com/embed/ComnkXaoMns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Everybody knows that I live for Beyoncé,” she \u003ca href=\"https://www.etonline.com/media/videos/why-laverne-cox-chose-promising-young-woman-over-presenting-an-award-to-beyonce-158322\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Entertainment Tonight\u003c/em>\u003c/a> in 2020. “I try not to worship gods on earth, or goddesses, but I worship Beyoncé.”\u003c/p>\n\u003cp>Many fans shared in that appreciation online, tweeting about how flattered Cox must be. Some even said that they saw the resemblance, too.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sports and culture writer David Dennis, Jr. was one of the people who seemed to think so. He called Cox the second biggest winner of the night (after Williams, of course, who defeated Danka Kovinic 6-3, 6-3).\u003c/p>\n\u003cp>“Laverne Cox … was mistaken for Beyoncé all night,” \u003ca href=\"https://twitter.com/DavidDTSS/status/1564426562191216641?s=20&t=23JWSKAUxqzyliCgKZZixQ\" target=\"_blank\" rel=\"noopener noreferrer\">he tweeted\u003c/a>. “Which is a career highlight for literally anyone.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Absolutely!” \u003ca href=\"https://twitter.com/Lavernecox/status/1564428839505338368?s=20&t=asuQsc1iA9RL7dB1AiFPKw\" target=\"_blank\" rel=\"noopener noreferrer\">Cox agreed\u003c/a>.\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=No%2C+that+wasn%27t+Beyonc%C3%A9+at+the+U.S.+Open.+It+was+Laverne+Cox%2C+and+she%27s+flattered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At 'SNL,' Allegations of Sexual Assault During its 'Golden Era' for Women",
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"content": "\u003cp>It reads like a list of outtakes from \u003cem>The Wolf of Wall Street\u003c/em>. Drug-fueled all-night parties. Sex workers hired to entertain men at staff gatherings. Underage teens blacked out on booze and drugs. Older men refusing to keep their hands to themselves. Unsolicited explicit photos sent to women by male colleagues.\u003c/p>\n\u003cp>But these aren’t the actions of a bunch of coked-out day traders in the greed-fueled ’80s. \u003ca href=\"https://www.documentcloud.org/documents/22187093-jane-doe-amended-complaint-fallon-sanz-morgan\" target=\"_blank\" rel=\"noopener noreferrer\">They’re incidents listed in a lawsuit filed against NBC Universal\u003c/a>, Horatio Sanz, Jimmy Fallon, Tracy Morgan and Lorne Michaels. And they’re purported to have happened on and around the \u003cem>Saturday Night Live\u003c/em> set between 2000 and 2002—a period widely perceived to be the gold standard for women on \u003cem>SNL\u003c/em>. If proven true, they will serve as a pertinent reminder that simply hiring more women is often not enough to rid workplaces of sexism.\u003c/p>\n\u003cp>[aside postid='arts_13891422']The complainant is one Jane Doe, who says she had her first direct contact with the \u003cem>SNL\u003c/em> cast when she was just 15 years old, starting with Jimmy Fallon and Horatio Sanz. Doe says she quickly became a regular at \u003cem>SNL\u003c/em> tapings, afterparties and what the cast and crew referred to at the time as after-afterparties—hedonistic, no holds barred all-nighters. She claims she talked openly about her age to most major cast members as well as to Lorne Michaels, but that she was openly permitted to drink and do drugs in their presence. Doe says other teenage girls were allowed at the parties and treated similarly.\u003c/p>\n\u003cp>The main focus of Doe’s accusations has, by and large, been Sanz. Doe first filed a lawsuit against Sanz last August, but updated it this past week to include Michaels, Fallon and Morgan. Doe says she was groomed and assaulted by Sanz with the full knowledge of some of the \u003cem>SNL\u003c/em> cast of the time, as well as numerous NBC employees. The document includes photos of Doe posing with various cast members, and riding in a limo with Sanz. \u003ca href=\"https://people.com/tv/nbc-responds-to-latest-sexual-assault-claims-against-snl-horatio-sanz/\" target=\"_blank\" rel=\"noopener noreferrer\">Both Sanz and NBC have issued statements strongly denying Doe’s allegations\u003c/a>.\u003c/p>\n\u003cp>If the 44 pages of Doe’s allegations are to be believed, \u003cem>SNL\u003c/em> fostered a toxic and misogynistic culture behind the scenes, even as an extraordinarily popular group of women led its cast. At the time Doe says she was involved with Sanz, the public perception was that things had changed on the show. \u003ca href=\"https://www.newyorker.com/books/page-turner/saturday-night-live-the-girls-club\" target=\"_blank\" rel=\"noopener noreferrer\">In 2012, t\u003cem>he New Yorker\u003c/em> described the period\u003c/a> as “when a group of ambitious female cast members transformed \u003cem>SNL\u003c/em>—a notorious boys’ club since its first season, in 1975—into a space where female comedians could collaborate and thrive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the most sobering and disturbing aspects of the lawsuit is how it paints these beloved female cast members as either complicit or unwilling to speak up. Of course, ultimately, the responsibility for incidents of grooming and sexual assault lies with those that commit them—but it’s worth examining who turns a blind eye and why. Especially when Doe says that she and her teenage girlfriends were welcomed into \u003cem>SNL\u003c/em>‘s raucous parties by a variety of cast members, including Rachel Dratch.\u003c/p>\n\u003cfigure id=\"attachment_13918220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918220\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-51669979-800x566.jpg\" alt=\"A group of five laughing women gesture and goof around on the red carpet.\" width=\"800\" height=\"566\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Saturday Night Live’ in the early 2000s was dominated by strong women who helped the show shrug off its reputation for being a boys’ club. (L-R) Tina Fey, Rachel Dratch, Amy Poehler, Ana Gasteyer and Maya Rudolph in 2002. \u003ccite>(DOUG KANTER/AFP via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the filing, Doe alleges Sanz sexually assaulted her at an after-afterparty in full view of much of the \u003cem>SNL\u003c/em> cast, and she describes Dratch and Tina Fey watching and laughing as it happened. When Doe looked directly at the pair, the suit claims, “they immediately hid behind others, though they continued to giggle.”\u003c/p>\n\u003cp>Ana Gasteyer and Maya Rudolph are described as being visibly upset at Sanz’s alleged behavior towards Doe that night. Gasteyer, the suit says, was visibly horrified and “looked like she was shaking with fright.” Maya Rudolph is described as looking “disgusted.” And while Will Ferrell also looked “unhappy,” the only two people who tried to directly intervene were apparently two NBC employees who are said to have approached Sanz and said, “Are you fucking serious?”\u003c/p>\n\u003cp>[aside postid='arts_13870036']Overall, the lawsuit describes a top-down culture where both the hedonistic history of the show and Lorne Michaels himself established a tone on set that left badly behaved men unaccountable, and talented women feeling expendable. One part of the complaint even notes: “Over the years, Michaels has famously surrounded himself with a bevy of young, blonde, conventionally attractive female assistants, widely known as ‘the Lornettes.'”\u003c/p>\n\u003cp>What’s in Doe’s lawsuit is what happens when cultures are built on a solid foundation of male entitlement and female marginalization. It’s what happens when a boys club sets the standards of behavior, and everyone else is forced to adapt or get the hell out.\u003c/p>\n\u003cp>The suit also notes just how many of the women of \u003cem>SNL\u003c/em> have hit their limit and done the latter. One section states:\u003c/p>\n\u003cblockquote>\u003cp>Female cast members over the years have described their experiences in extremely negative terms. For example, Jane Curtin (“World War I”); Julia Sweeney (“Just thinking of [the Lornettes] makes me so happy I quit”); Janeane Garofalo (“The most miserable experience of my life”); Nora Dunn (“Traumatic”); Julia Louis-Dreyfus (“Very sexist, very sexist”); Anne Beatts (“The only entrée to that boys club [for women] was basically by fucking somebody in the club”); and Ana Gasteyer (“When I first came to [\u003cem>SNL\u003c/em>], women were so—it was so presumed that you were going to crash and burn and be destroyed and chewed up and eaten up by the show that I had nowhere to go but hope.”)\u003c/p>\u003c/blockquote>\n\u003cp>It’s easy for us now, in a post-#MeToo age, to read the lawsuit’s allegations and question just what the hell the women of \u003cem>SNL\u003c/em> were thinking. But any woman who has ever attempted to work in a field traditionally dominated by men will tell you that turning a blind eye and keeping one’s head down can often become a means of survival, rightly or wrongly. (The lawsuit itself states repeatedly that Doe continued communicating with Sanz after their relationship soured because she had ambitions of writing for the show.)\u003c/p>\n\u003cp>This suit, then, is a reminder that the mere presence of women in a workplace does not automatically erase a misogynistic foundation. Especially when that foundation was laid decades earlier and then enthusiastically permitted to exist in the years since. Putting women in publicly prominent positions is simply not enough to transform toxic work environments, without other interventions taking place.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Doe says that on one of her first occasions visiting Studio 8H, she was concerned she would be in trouble when she encountered an NBC security guard. Doe says he merely told her, “You know what NBC stands for? Nobody cares.”\u003c/p>\n\n",
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"title": "At 'SNL,' Allegations of Sexual Assault During its 'Golden Era' for Women | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It reads like a list of outtakes from \u003cem>The Wolf of Wall Street\u003c/em>. Drug-fueled all-night parties. Sex workers hired to entertain men at staff gatherings. Underage teens blacked out on booze and drugs. Older men refusing to keep their hands to themselves. Unsolicited explicit photos sent to women by male colleagues.\u003c/p>\n\u003cp>But these aren’t the actions of a bunch of coked-out day traders in the greed-fueled ’80s. \u003ca href=\"https://www.documentcloud.org/documents/22187093-jane-doe-amended-complaint-fallon-sanz-morgan\" target=\"_blank\" rel=\"noopener noreferrer\">They’re incidents listed in a lawsuit filed against NBC Universal\u003c/a>, Horatio Sanz, Jimmy Fallon, Tracy Morgan and Lorne Michaels. And they’re purported to have happened on and around the \u003cem>Saturday Night Live\u003c/em> set between 2000 and 2002—a period widely perceived to be the gold standard for women on \u003cem>SNL\u003c/em>. If proven true, they will serve as a pertinent reminder that simply hiring more women is often not enough to rid workplaces of sexism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The complainant is one Jane Doe, who says she had her first direct contact with the \u003cem>SNL\u003c/em> cast when she was just 15 years old, starting with Jimmy Fallon and Horatio Sanz. Doe says she quickly became a regular at \u003cem>SNL\u003c/em> tapings, afterparties and what the cast and crew referred to at the time as after-afterparties—hedonistic, no holds barred all-nighters. She claims she talked openly about her age to most major cast members as well as to Lorne Michaels, but that she was openly permitted to drink and do drugs in their presence. Doe says other teenage girls were allowed at the parties and treated similarly.\u003c/p>\n\u003cp>The main focus of Doe’s accusations has, by and large, been Sanz. Doe first filed a lawsuit against Sanz last August, but updated it this past week to include Michaels, Fallon and Morgan. Doe says she was groomed and assaulted by Sanz with the full knowledge of some of the \u003cem>SNL\u003c/em> cast of the time, as well as numerous NBC employees. The document includes photos of Doe posing with various cast members, and riding in a limo with Sanz. \u003ca href=\"https://people.com/tv/nbc-responds-to-latest-sexual-assault-claims-against-snl-horatio-sanz/\" target=\"_blank\" rel=\"noopener noreferrer\">Both Sanz and NBC have issued statements strongly denying Doe’s allegations\u003c/a>.\u003c/p>\n\u003cp>If the 44 pages of Doe’s allegations are to be believed, \u003cem>SNL\u003c/em> fostered a toxic and misogynistic culture behind the scenes, even as an extraordinarily popular group of women led its cast. At the time Doe says she was involved with Sanz, the public perception was that things had changed on the show. \u003ca href=\"https://www.newyorker.com/books/page-turner/saturday-night-live-the-girls-club\" target=\"_blank\" rel=\"noopener noreferrer\">In 2012, t\u003cem>he New Yorker\u003c/em> described the period\u003c/a> as “when a group of ambitious female cast members transformed \u003cem>SNL\u003c/em>—a notorious boys’ club since its first season, in 1975—into a space where female comedians could collaborate and thrive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most sobering and disturbing aspects of the lawsuit is how it paints these beloved female cast members as either complicit or unwilling to speak up. Of course, ultimately, the responsibility for incidents of grooming and sexual assault lies with those that commit them—but it’s worth examining who turns a blind eye and why. Especially when Doe says that she and her teenage girlfriends were welcomed into \u003cem>SNL\u003c/em>‘s raucous parties by a variety of cast members, including Rachel Dratch.\u003c/p>\n\u003cfigure id=\"attachment_13918220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918220\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-51669979-800x566.jpg\" alt=\"A group of five laughing women gesture and goof around on the red carpet.\" width=\"800\" height=\"566\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Saturday Night Live’ in the early 2000s was dominated by strong women who helped the show shrug off its reputation for being a boys’ club. (L-R) Tina Fey, Rachel Dratch, Amy Poehler, Ana Gasteyer and Maya Rudolph in 2002. \u003ccite>(DOUG KANTER/AFP via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the filing, Doe alleges Sanz sexually assaulted her at an after-afterparty in full view of much of the \u003cem>SNL\u003c/em> cast, and she describes Dratch and Tina Fey watching and laughing as it happened. When Doe looked directly at the pair, the suit claims, “they immediately hid behind others, though they continued to giggle.”\u003c/p>\n\u003cp>Ana Gasteyer and Maya Rudolph are described as being visibly upset at Sanz’s alleged behavior towards Doe that night. Gasteyer, the suit says, was visibly horrified and “looked like she was shaking with fright.” Maya Rudolph is described as looking “disgusted.” And while Will Ferrell also looked “unhappy,” the only two people who tried to directly intervene were apparently two NBC employees who are said to have approached Sanz and said, “Are you fucking serious?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Overall, the lawsuit describes a top-down culture where both the hedonistic history of the show and Lorne Michaels himself established a tone on set that left badly behaved men unaccountable, and talented women feeling expendable. One part of the complaint even notes: “Over the years, Michaels has famously surrounded himself with a bevy of young, blonde, conventionally attractive female assistants, widely known as ‘the Lornettes.'”\u003c/p>\n\u003cp>What’s in Doe’s lawsuit is what happens when cultures are built on a solid foundation of male entitlement and female marginalization. It’s what happens when a boys club sets the standards of behavior, and everyone else is forced to adapt or get the hell out.\u003c/p>\n\u003cp>The suit also notes just how many of the women of \u003cem>SNL\u003c/em> have hit their limit and done the latter. One section states:\u003c/p>\n\u003cblockquote>\u003cp>Female cast members over the years have described their experiences in extremely negative terms. For example, Jane Curtin (“World War I”); Julia Sweeney (“Just thinking of [the Lornettes] makes me so happy I quit”); Janeane Garofalo (“The most miserable experience of my life”); Nora Dunn (“Traumatic”); Julia Louis-Dreyfus (“Very sexist, very sexist”); Anne Beatts (“The only entrée to that boys club [for women] was basically by fucking somebody in the club”); and Ana Gasteyer (“When I first came to [\u003cem>SNL\u003c/em>], women were so—it was so presumed that you were going to crash and burn and be destroyed and chewed up and eaten up by the show that I had nowhere to go but hope.”)\u003c/p>\u003c/blockquote>\n\u003cp>It’s easy for us now, in a post-#MeToo age, to read the lawsuit’s allegations and question just what the hell the women of \u003cem>SNL\u003c/em> were thinking. But any woman who has ever attempted to work in a field traditionally dominated by men will tell you that turning a blind eye and keeping one’s head down can often become a means of survival, rightly or wrongly. (The lawsuit itself states repeatedly that Doe continued communicating with Sanz after their relationship soured because she had ambitions of writing for the show.)\u003c/p>\n\u003cp>This suit, then, is a reminder that the mere presence of women in a workplace does not automatically erase a misogynistic foundation. Especially when that foundation was laid decades earlier and then enthusiastically permitted to exist in the years since. Putting women in publicly prominent positions is simply not enough to transform toxic work environments, without other interventions taking place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doe says that on one of her first occasions visiting Studio 8H, she was concerned she would be in trouble when she encountered an NBC security guard. Doe says he merely told her, “You know what NBC stands for? Nobody cares.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gen Z is Driving Sales of Romance Books to the Top of Bestseller Lists",
"headTitle": "Gen Z is Driving Sales of Romance Books to the Top of Bestseller Lists | KQED",
"content": "\u003cp>Ask a Gen Z woman what she’s read recently, and there’s a good chance two names will come up: Colleen Hoover and Emily Henry.\u003c/p>\n\u003cp>“Gen Z is my favorite of all generations for so many reasons, and their love for reading is just one of the many,” Hoover said. “I love that they are consuming books and sharing books and recommending books. They’re reading so much—not only my books, but books across genres.”\u003c/p>\n\u003cp>[aside postid='arts_10353585']For months, Hoover and Henry have occupied multiple spots on the \u003cem>New York Times\u003c/em> paperback trade fiction bestsellers list. The success of these contemporary romance writers has been driven in large part by Gen Z readers—and social media.\u003c/p>\n\u003cp>“It’s the right person finding the book at the right time and then sharing it with the right people,” said Henry. Her novels \u003cem>Beach Read\u003c/em>, \u003cem>People We Meet on Vacation\u003c/em>, and \u003cem>Book Lovers \u003c/em>are all bestsellers.\u003c/p>\n\u003cp>Hoover’s upcoming book, \u003cem>It Starts With Us—\u003c/em>the highly anticipated sequel to \u003cem>It Ends With Us \u003c/em>from 2016—has more pre-orders than any novel in Simon & Schuster history—and there are still seven weeks to publication. Its pre-orders have surpassed Stephen King’s \u003cem>Dr. Sleep\u003c/em>, which went on sale in 2013—the publishing company’s previous leader.\u003c/p>\n\u003ch3>What makes a romance novel a Gen Z hit\u003c/h3>\n\u003cp>A decade ago, the main demographic for romance was women ages 35 to 54. But in the past several years, that has widened to include women 18 to 54, according to Colleen Hoover’s publicist Ariele Fredman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Gen Z is a huge audience for romance,” she said. “If you think about it, like millennials, their youth has been marked by global and social upset and unrest in many ways, so looking for a happy ever after or an emotional outlet in a book seems like a healthy way of coping.”\u003c/p>\n\u003cp>[aside postid='arts_13896736']Kaileigh Klein, a 19-year-old college student in Ontario, Canada said she loves Hoover’s books for just this reason—for the big emotions she writes about.\u003c/p>\n\u003cp>“People [my age] gravitate towards her novels because they’re really emotional. I feel like even if you can’t express emotion in real life, reading it on paper, it’s really easy to connect to it and relate to it,” she said.\u003c/p>\n\u003cp>Sahar Kariem, a 22-year-old stylist from Maryland, said Emily Henry’s “balance of romance and life lessons,” as well as themes of coming of age, have cemented Henry as one of her favorite authors.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://www.refinery29.com/en-us/2018/10/213494/romance-novel-cover-trend-modern\" target=\"_blank\" rel=\"noopener noreferrer\">marketing trends\u003c/a>, like covering contemporary romance novel jackets with cartoon figures and bright colors, has also helped pull in a younger audience, according to Leah Koch, who co-owns The Ripped Bodice, a romance bookstore in Los Angeles.\u003c/p>\n\u003cp>“I don’t know that I’ll ever have a grasp on it, but I’d like to think they’re responding to the entertainment factor,” Hoover said. “The last few years have been wild in the best way, and I’m very grateful to readers who continue to share my books and the books of other authors on their social platforms.”\u003c/p>\n\u003ch3>Social media pushing romance to younger readers\u003c/h3>\n\u003cp>Much of the success of the romance genre with Gen Z readers is driven by \u003ca href=\"https://www.tiktok.com/t/ZTRAvPau1/?k=1\" target=\"_blank\" rel=\"noopener noreferrer\">BookTok\u003c/a>, a subcommunity on TikTok for recommending, reviewing, and discussing books. Sales for authors whose books have gone viral on TikTok had reached 12.5 million in 2022, as of July, according to NPD BookScan, a data service that tracks U.S. book sales. And as of April, nearly 41 percent of TikTok’s global users were between the ages of 18 and 24—with more than half of those being women, according to Statista.\u003c/p>\n\u003cp>Colleen Hoover is especially savvy at knowing how to connect with her fans. She’s a frequent TikTok user, regularly engaging with her almost 950,000 followers. Emily Henry has chosen another approach, leaving the space to readers—giving her an almost a mythical presence on the platform.\u003c/p>\n\u003cp>Bookstore owner Koch said she’s noticed a large increase in younger customers coming into the store since early 2021—something she “100 percent” attributes to TikTok.\u003c/p>\n\u003cp>“We’ll get a rush of customers asking for something random and we’re like, ‘Why does everyone want this specific book?'” Koch said. The answer is always TikTok.\u003c/p>\n\u003cp>[aside postid='arts_13873288']Ali Hazelwood, whose 2021 debut book \u003cem>The Love Hypothesis\u003c/em> became a smash BookTok hit, said she had no idea of the book’s virality until a friend told her a TikTok recommending it had 2 million views.\u003c/p>\n\u003cp>“The way BookTok talks about books is very different from your traditional review,” Hazelwood said. “They make me want to buy my book.”\u003c/p>\n\u003cp>The Ripped Bodice’s top selling book, Koch said, is Hoover’s \u003cem>It Ends With Us\u003c/em>. Though it’s not new, it received a surge in popularity last year thanks to BookTok. The book hit No. 1 on the\u003ca href=\"https://www.nytimes.com/books/best-sellers/2022/01/16/combined-print-and-e-book-fiction/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> New York Times\u003c/em> bestseller list\u003c/a> in January 2022.\u003c/p>\n\u003ch3>BookTok reduces romance stigma, but upholds whiteness\u003c/h3>\n\u003cp>Ultimately, Koch said, what gets a reader in their teens or early 20s to pick up a romance novel is if they’re able to relate to a character’s feelings and circumstances. But this doesn’t mean a character has to be exactly the same as them.\u003c/p>\n\u003cp>“I’ve never heard a Gen Z reader say, ‘I don’t want to read this because I can’t personally relate to the characters [in race or sexuality],” Koch said.\u003c/p>\n\u003cp>Yet, the majority of the most successful BookTok romance novels are about white, straight characters and by white authors, with a few notable exceptions. The books that go viral on TikTok tend to be by white authors, and mostly white women.\u003c/p>\n\u003cp>“There are so many books that I think are excellent and don’t make [bestsellers] lists, and so many of these books are written by non-white authors,” Hazelwood said. “There’s definitely a pattern and a marked disadvantage that authors of color have to face in publishing.”\u003c/p>\n\u003cp>[aside postid='arts_13892784']Henry shared similar sentiments—and said she often wonders why certain authors, like Kennedy Ryan, haven’t blown up on BookTok yet. She also said she wouldn’t be in the contemporary romance game if it weren’t for women of color like Helen Hoang and Jasmine Guillory, whose 2018 debut novels made her realize there was an audience for a book like \u003cem>Beach Read.\u003c/em>\u003c/p>\n\u003cp>It’s a broader issue than just BookTok—according to The Ripped Bodice’s annual \u003ca href=\"https://www.therippedbodicela.com/state-racial-diversity-romance-publishing-report\" target=\"_blank\" rel=\"noopener noreferrer\">State of Racial Diversity in Romance Publishing Report\u003c/a>, only 7.8 percent of romance books published in 2021 were written by BIPOC authors.\u003c/p>\n\u003cp>“There’s so many good books by Black authors that get ignored,” said Gen Z reader Kariem, who herself is Black and Muslim. “I think a lot of books by white authors are just advertised more, and there’s a lot of up and coming authors that don’t have the same resources.”\u003c/p>\n\u003cp>Henry also reflected on the issue. “I don’t know what we do to help BookTok make space for more authors beyond the white authors who are having this moment,” Henry said.\u003c/p>\n\u003cp>But overall, the romance writers at the top of the bestsellers lists today said they rejoice in Gen Z’s openness about loving the romance genre. It’s “this embracing of pleasure and sexuality and openness to the things that make you feel good without denigrating those as like a lower form of art,” Henry said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hazelwood said she, and so many others, grew up embarrassed of reading romance novels. “I just hope that this new generation is growing up without all that stigma that was unjustifiably there to begin with. Now [reading romance] is super cool,” she said.\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=Gen+Z+is+driving+sales+of+romance+books+to+the+top+of+bestseller+lists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask a Gen Z woman what she’s read recently, and there’s a good chance two names will come up: Colleen Hoover and Emily Henry.\u003c/p>\n\u003cp>“Gen Z is my favorite of all generations for so many reasons, and their love for reading is just one of the many,” Hoover said. “I love that they are consuming books and sharing books and recommending books. They’re reading so much—not only my books, but books across genres.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For months, Hoover and Henry have occupied multiple spots on the \u003cem>New York Times\u003c/em> paperback trade fiction bestsellers list. The success of these contemporary romance writers has been driven in large part by Gen Z readers—and social media.\u003c/p>\n\u003cp>“It’s the right person finding the book at the right time and then sharing it with the right people,” said Henry. Her novels \u003cem>Beach Read\u003c/em>, \u003cem>People We Meet on Vacation\u003c/em>, and \u003cem>Book Lovers \u003c/em>are all bestsellers.\u003c/p>\n\u003cp>Hoover’s upcoming book, \u003cem>It Starts With Us—\u003c/em>the highly anticipated sequel to \u003cem>It Ends With Us \u003c/em>from 2016—has more pre-orders than any novel in Simon & Schuster history—and there are still seven weeks to publication. Its pre-orders have surpassed Stephen King’s \u003cem>Dr. Sleep\u003c/em>, which went on sale in 2013—the publishing company’s previous leader.\u003c/p>\n\u003ch3>What makes a romance novel a Gen Z hit\u003c/h3>\n\u003cp>A decade ago, the main demographic for romance was women ages 35 to 54. But in the past several years, that has widened to include women 18 to 54, according to Colleen Hoover’s publicist Ariele Fredman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gen Z is a huge audience for romance,” she said. “If you think about it, like millennials, their youth has been marked by global and social upset and unrest in many ways, so looking for a happy ever after or an emotional outlet in a book seems like a healthy way of coping.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kaileigh Klein, a 19-year-old college student in Ontario, Canada said she loves Hoover’s books for just this reason—for the big emotions she writes about.\u003c/p>\n\u003cp>“People [my age] gravitate towards her novels because they’re really emotional. I feel like even if you can’t express emotion in real life, reading it on paper, it’s really easy to connect to it and relate to it,” she said.\u003c/p>\n\u003cp>Sahar Kariem, a 22-year-old stylist from Maryland, said Emily Henry’s “balance of romance and life lessons,” as well as themes of coming of age, have cemented Henry as one of her favorite authors.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://www.refinery29.com/en-us/2018/10/213494/romance-novel-cover-trend-modern\" target=\"_blank\" rel=\"noopener noreferrer\">marketing trends\u003c/a>, like covering contemporary romance novel jackets with cartoon figures and bright colors, has also helped pull in a younger audience, according to Leah Koch, who co-owns The Ripped Bodice, a romance bookstore in Los Angeles.\u003c/p>\n\u003cp>“I don’t know that I’ll ever have a grasp on it, but I’d like to think they’re responding to the entertainment factor,” Hoover said. “The last few years have been wild in the best way, and I’m very grateful to readers who continue to share my books and the books of other authors on their social platforms.”\u003c/p>\n\u003ch3>Social media pushing romance to younger readers\u003c/h3>\n\u003cp>Much of the success of the romance genre with Gen Z readers is driven by \u003ca href=\"https://www.tiktok.com/t/ZTRAvPau1/?k=1\" target=\"_blank\" rel=\"noopener noreferrer\">BookTok\u003c/a>, a subcommunity on TikTok for recommending, reviewing, and discussing books. Sales for authors whose books have gone viral on TikTok had reached 12.5 million in 2022, as of July, according to NPD BookScan, a data service that tracks U.S. book sales. And as of April, nearly 41 percent of TikTok’s global users were between the ages of 18 and 24—with more than half of those being women, according to Statista.\u003c/p>\n\u003cp>Colleen Hoover is especially savvy at knowing how to connect with her fans. She’s a frequent TikTok user, regularly engaging with her almost 950,000 followers. Emily Henry has chosen another approach, leaving the space to readers—giving her an almost a mythical presence on the platform.\u003c/p>\n\u003cp>Bookstore owner Koch said she’s noticed a large increase in younger customers coming into the store since early 2021—something she “100 percent” attributes to TikTok.\u003c/p>\n\u003cp>“We’ll get a rush of customers asking for something random and we’re like, ‘Why does everyone want this specific book?'” Koch said. The answer is always TikTok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ali Hazelwood, whose 2021 debut book \u003cem>The Love Hypothesis\u003c/em> became a smash BookTok hit, said she had no idea of the book’s virality until a friend told her a TikTok recommending it had 2 million views.\u003c/p>\n\u003cp>“The way BookTok talks about books is very different from your traditional review,” Hazelwood said. “They make me want to buy my book.”\u003c/p>\n\u003cp>The Ripped Bodice’s top selling book, Koch said, is Hoover’s \u003cem>It Ends With Us\u003c/em>. Though it’s not new, it received a surge in popularity last year thanks to BookTok. The book hit No. 1 on the\u003ca href=\"https://www.nytimes.com/books/best-sellers/2022/01/16/combined-print-and-e-book-fiction/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> New York Times\u003c/em> bestseller list\u003c/a> in January 2022.\u003c/p>\n\u003ch3>BookTok reduces romance stigma, but upholds whiteness\u003c/h3>\n\u003cp>Ultimately, Koch said, what gets a reader in their teens or early 20s to pick up a romance novel is if they’re able to relate to a character’s feelings and circumstances. But this doesn’t mean a character has to be exactly the same as them.\u003c/p>\n\u003cp>“I’ve never heard a Gen Z reader say, ‘I don’t want to read this because I can’t personally relate to the characters [in race or sexuality],” Koch said.\u003c/p>\n\u003cp>Yet, the majority of the most successful BookTok romance novels are about white, straight characters and by white authors, with a few notable exceptions. The books that go viral on TikTok tend to be by white authors, and mostly white women.\u003c/p>\n\u003cp>“There are so many books that I think are excellent and don’t make [bestsellers] lists, and so many of these books are written by non-white authors,” Hazelwood said. “There’s definitely a pattern and a marked disadvantage that authors of color have to face in publishing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Henry shared similar sentiments—and said she often wonders why certain authors, like Kennedy Ryan, haven’t blown up on BookTok yet. She also said she wouldn’t be in the contemporary romance game if it weren’t for women of color like Helen Hoang and Jasmine Guillory, whose 2018 debut novels made her realize there was an audience for a book like \u003cem>Beach Read.\u003c/em>\u003c/p>\n\u003cp>It’s a broader issue than just BookTok—according to The Ripped Bodice’s annual \u003ca href=\"https://www.therippedbodicela.com/state-racial-diversity-romance-publishing-report\" target=\"_blank\" rel=\"noopener noreferrer\">State of Racial Diversity in Romance Publishing Report\u003c/a>, only 7.8 percent of romance books published in 2021 were written by BIPOC authors.\u003c/p>\n\u003cp>“There’s so many good books by Black authors that get ignored,” said Gen Z reader Kariem, who herself is Black and Muslim. “I think a lot of books by white authors are just advertised more, and there’s a lot of up and coming authors that don’t have the same resources.”\u003c/p>\n\u003cp>Henry also reflected on the issue. “I don’t know what we do to help BookTok make space for more authors beyond the white authors who are having this moment,” Henry said.\u003c/p>\n\u003cp>But overall, the romance writers at the top of the bestsellers lists today said they rejoice in Gen Z’s openness about loving the romance genre. It’s “this embracing of pleasure and sexuality and openness to the things that make you feel good without denigrating those as like a lower form of art,” Henry said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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