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"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. [aside postid='arts_13962898']\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” [aside postid='arts_13939974']\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n",
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"title": "‘Baby Reindeer’ Actress Nava Mau Found Herself in Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "miss-merkel-crime-tv-show-angela-german-chancellor-fiction",
"title": "In ‘Miss Merkel,’ Germany’s Former Chancellor Is a Crime-Solving Amateur Detective",
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"headTitle": "In ‘Miss Merkel,’ Germany’s Former Chancellor Is a Crime-Solving Amateur Detective | KQED",
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"content": "\u003cp>Little is known about how Germany’s former Chancellor Angela Merkel is spending her retirement, and that seems to be the way she likes it. Thanks to a German crime fiction series adapted for television and now proving a hit in Italy, she is back in the headlines — this time as a fictional small-town amateur sleuth.\u003c/p>\n\u003cp>As the title suggests, \u003cem>Miss Merkel \u003c/em>is a whodunnit that imagines the former chancellor as an Agatha Christie-style detective who starts solving crimes out of sheer boredom. For want of a G7 or European Union summit, Merkel is desperate to put down the garden shears and get back to solving something, anything! This time, it’s a village murder. Move over, Miss Marple!\u003c/p>\n\u003cp>[aside postid='arts_13962860']The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13963389']Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>[aside postid='arts_13963140']“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little is known about how Germany’s former Chancellor Angela Merkel is spending her retirement, and that seems to be the way she likes it. Thanks to a German crime fiction series adapted for television and now proving a hit in Italy, she is back in the headlines — this time as a fictional small-town amateur sleuth.\u003c/p>\n\u003cp>As the title suggests, \u003cem>Miss Merkel \u003c/em>is a whodunnit that imagines the former chancellor as an Agatha Christie-style detective who starts solving crimes out of sheer boredom. For want of a G7 or European Union summit, Merkel is desperate to put down the garden shears and get back to solving something, anything! This time, it’s a village murder. Move over, Miss Marple!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>[aside postid='arts_13867505']As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=RUPSilcJFrQ\u003c/p>\n\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1QXdi25469U\u003c/p>\n\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=ziwYbVx_-qg\u003c/p>\n\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1HiBKSOeqvg\u003c/p>\n\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=gwgOUzodS6E\u003c/p>\n\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/RUPSilcJFrQ'\n title='//www.youtube.com/embed/RUPSilcJFrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1QXdi25469U'\n title='//www.youtube.com/embed/1QXdi25469U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/ziwYbVx_-qg'\n title='//www.youtube.com/embed/ziwYbVx_-qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1HiBKSOeqvg'\n title='//www.youtube.com/embed/1HiBKSOeqvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/gwgOUzodS6E'\n title='//www.youtube.com/embed/gwgOUzodS6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you were too young to watch NBC’s groundbreaking police drama, \u003cem>Homicide: Life on the Street\u003c/em> when it first debuted in 1993, you may wonder why there’s still so much fuss about the show more than three decades later.\u003c/p>\n\u003cp>That’s because so much of what \u003cem>Homicide\u003c/em> presented was stuff you just didn’t see on network television back then: shaky, kinetic camera work; working stiff police detectives cracking jokes at gruesome murder scenes instead of solemnly vowing justice; serialized stories that arced over several episodes; heart-rending killings that never got solved. It was a cop show without gun battles or car chases, with a bracing shot of street-level realism, filmed mostly in Baltimore.\u003c/p>\n\u003cp>[aside postid='arts_13962204']TV fans can step back in time Monday, when NBCUniversal rights a longtime injustice and makes all seven seasons of \u003cem>Homicide: Life on the Street \u003c/em>available on its streaming service, Peacock – along with 2000’s \u003cem>Homicide: the Movie\u003c/em>. There’s a total 122 episodes, plus the TV movie.\u003c/p>\n\u003cp>One person glad to see these episodes finally arrive on streaming is Tom Fontana, who served as executive producer and showrunner for \u003cem>Homicide\u003c/em>, helping develop its singular storytelling style.\u003c/p>\n\u003cp>He wasn’t directly involved with bringing the series to Peacock, though Fontana says he and fellow \u003cem>Homicide\u003c/em> producers Barry Levinson and Gail Mutrux had been bugging the company to put the show online for years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We could never understand why they [didn’t do it sooner],” adds the producer, who created the prison drama \u003cem>Oz\u003c/em>, HBO’s first original drama series, and most recently co-created the AMC drama \u003cem>Monsieur Spade\u003c/em>. “We kept getting different reasons from different NBC executives.”\u003c/p>\n\u003cp>In a tweet in June, \u003cem>Homicide\u003c/em> producer and writer David Simon — a former \u003cem>Baltimore Sun\u003c/em> cops reporter who wrote the book the show was based on, \u003cem>Homicide: A Year on the Killing Streets\u003c/em> — hinted that music rights were central to the delay.\u003c/p>\n\u003cp>https://twitter.com/AoDespair/status/1802819920939635097\u003c/p>\n\u003cp>In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, \u003cem>Law & Order\u003c/em>, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.\u003c/p>\n\u003ch3>Resurfacing groundbreaking 1990s TV\u003c/h3>\n\u003cp>Watching \u003cem>Homicide\u003c/em> episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.\u003c/p>\n\u003cp>Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3DH4FdxKCNg\u003c/p>\n\u003cp>Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working — solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”\u003c/p>\n\u003cp>The \u003cem>Homicide\u003c/em> series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including \u003cem>The Wire\u003c/em>. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can’ … I think that was probably the only really good advice I gave him.”\u003c/p>\n\u003cp>[aside postid='arts_13960383']Fontana’s notes to Simon may also explain why the structure of \u003cem>Homicide\u003c/em>’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes — with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.\u003c/p>\n\u003cp>Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant \u003cem>Homicide\u003c/em> emerged as a series perfect for streaming, made long before streaming platforms actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13962863\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59%E2%80%AFAM.png\" alt=\"Standing in front of an old red brick building are seven men of various ages and races and two white women. Almost everyone is wearing a suit.\" width=\"972\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM.png 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-768x1024.png 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Homicide: Life on the Street.’ \u003ccite>(NBCUniversal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘A community of detectives’\u003c/h3>\n\u003cp>The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.\u003c/p>\n\u003cp>“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”\u003c/p>\n\u003cp>Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution \u003ca href=\"https://www.kqed.org/arts/13953095/john-waters-aubrey-plaza-liarmouth\">John Waters\u003c/a> appeared on the show. \u003ca href=\"https://www.kqed.org/pop/104553/exploring-not-explaining-the-mind-of-robin-williams\">Robin Williams\u003c/a> guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later \u003ca href=\"https://davidsimon.com/robin-williams-a-brief-encounter/\">\u003cu>wrote on his website\u003c/u>\u003c/a>, likely saved the show and cemented his TV writing career).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AkGfJbLZtLU&t=1s\u003c/p>\n\u003cp>Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.\u003c/p>\n\u003ch3>Catching up on the work of departed acting legends\u003c/h3>\n\u003cp>Perhaps best of all, fans can now see a long line of powerful actors who have since died — performers who delivered some of their best work on \u003cem>Homicide\u003c/em> — including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.\u003c/p>\n\u003cp>Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in \u003cem>Homicide’s\u003c/em> first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”\u003c/p>\n\u003cp>[aside postid='arts_13959986']NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher — beloved actors whose later work included \u003cem>Law & Order: SVU \u003c/em>and \u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\">\u003cem>Brooklyn Nine-Nine\u003c/em>\u003c/a> — “was just another indicator that we should continue on our path” to bring \u003cem>Homicide\u003c/em> to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s \u003cem>Suits \u003c/em>and Showtime’s \u003cem>Your Honor\u003c/em>, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.\u003c/p>\n\u003cp>But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Homicide: Life on the Street’ begins streaming on Peacock on Aug. 19, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>TV fans can step back in time Monday, when NBCUniversal rights a longtime injustice and makes all seven seasons of \u003cem>Homicide: Life on the Street \u003c/em>available on its streaming service, Peacock – along with 2000’s \u003cem>Homicide: the Movie\u003c/em>. There’s a total 122 episodes, plus the TV movie.\u003c/p>\n\u003cp>One person glad to see these episodes finally arrive on streaming is Tom Fontana, who served as executive producer and showrunner for \u003cem>Homicide\u003c/em>, helping develop its singular storytelling style.\u003c/p>\n\u003cp>He wasn’t directly involved with bringing the series to Peacock, though Fontana says he and fellow \u003cem>Homicide\u003c/em> producers Barry Levinson and Gail Mutrux had been bugging the company to put the show online for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We could never understand why they [didn’t do it sooner],” adds the producer, who created the prison drama \u003cem>Oz\u003c/em>, HBO’s first original drama series, and most recently co-created the AMC drama \u003cem>Monsieur Spade\u003c/em>. “We kept getting different reasons from different NBC executives.”\u003c/p>\n\u003cp>In a tweet in June, \u003cem>Homicide\u003c/em> producer and writer David Simon — a former \u003cem>Baltimore Sun\u003c/em> cops reporter who wrote the book the show was based on, \u003cem>Homicide: A Year on the Killing Streets\u003c/em> — hinted that music rights were central to the delay.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, \u003cem>Law & Order\u003c/em>, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.\u003c/p>\n\u003ch3>Resurfacing groundbreaking 1990s TV\u003c/h3>\n\u003cp>Watching \u003cem>Homicide\u003c/em> episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.\u003c/p>\n\u003cp>Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.\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/3DH4FdxKCNg'\n title='//www.youtube.com/embed/3DH4FdxKCNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working — solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”\u003c/p>\n\u003cp>The \u003cem>Homicide\u003c/em> series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including \u003cem>The Wire\u003c/em>. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can’ … I think that was probably the only really good advice I gave him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fontana’s notes to Simon may also explain why the structure of \u003cem>Homicide\u003c/em>’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes — with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.\u003c/p>\n\u003cp>Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant \u003cem>Homicide\u003c/em> emerged as a series perfect for streaming, made long before streaming platforms actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13962863\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59%E2%80%AFAM.png\" alt=\"Standing in front of an old red brick building are seven men of various ages and races and two white women. Almost everyone is wearing a suit.\" width=\"972\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM.png 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-768x1024.png 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Homicide: Life on the Street.’ \u003ccite>(NBCUniversal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘A community of detectives’\u003c/h3>\n\u003cp>The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.\u003c/p>\n\u003cp>“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”\u003c/p>\n\u003cp>Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution \u003ca href=\"https://www.kqed.org/arts/13953095/john-waters-aubrey-plaza-liarmouth\">John Waters\u003c/a> appeared on the show. \u003ca href=\"https://www.kqed.org/pop/104553/exploring-not-explaining-the-mind-of-robin-williams\">Robin Williams\u003c/a> guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later \u003ca href=\"https://davidsimon.com/robin-williams-a-brief-encounter/\">\u003cu>wrote on his website\u003c/u>\u003c/a>, likely saved the show and cemented his TV writing career).\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/AkGfJbLZtLU'\n title='//www.youtube.com/embed/AkGfJbLZtLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.\u003c/p>\n\u003ch3>Catching up on the work of departed acting legends\u003c/h3>\n\u003cp>Perhaps best of all, fans can now see a long line of powerful actors who have since died — performers who delivered some of their best work on \u003cem>Homicide\u003c/em> — including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.\u003c/p>\n\u003cp>Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in \u003cem>Homicide’s\u003c/em> first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher — beloved actors whose later work included \u003cem>Law & Order: SVU \u003c/em>and \u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\">\u003cem>Brooklyn Nine-Nine\u003c/em>\u003c/a> — “was just another indicator that we should continue on our path” to bring \u003cem>Homicide\u003c/em> to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s \u003cem>Suits \u003c/em>and Showtime’s \u003cem>Your Honor\u003c/em>, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.\u003c/p>\n\u003cp>But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Homicide: Life on the Street’ begins streaming on Peacock on Aug. 19, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Finally, a movie for everyone who read \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>’s \u003cem>The Lottery\u003c/em> and wished it had been a comedy.\u003c/p>\n\u003cp>Paul Feig’s \u003cem>Jackpot!\u003c/em> is a farcical twist on an old story that, if it doesn’t remind people of Jackson’s short story will surely sound familiar to those who enjoyed \u003cem>The Purge\u003c/em> and its sequels. In a near-future California, buying a lottery ticket enters you a chance to win billions. But there’s a catch.\u003c/p>\n\u003cp>[aside postid='arts_13962677']Everyone else is free to try to kill the winner and take the prizemoney. The “winner” has until sundown to survive and keep their money. The only rule: No guns. Hovering drones keep an eye on winners, helping violent mobs find their way to him or her. This state-sponsored \u003ca href=\"https://www.kqed.org/pop/tag/the-hunger-games\">Hunger Game\u003c/a> is the new low for a government depleted of funds. Meanwhile, the local TV news chipperly announces a few new billionaires every day.\u003c/p>\n\u003cp>My principle disappointment with \u003cem>Jackpot!\u003c/em> is that they didn’t go with a title like \u003cem>Mega Murders\u003c/em> or its original name: \u003cem>Grand Theft Lotto\u003c/em>. This is a very high concept for a comedy, one that Feig and screenwriter Rob Yescombe lean into to craft a mildly entertaining, streaming-only comedy that’s only a touch less disposable than a losing Powerball ticket.\u003c/p>\n\u003cp>Mostly, \u003cem>Jackpot!\u003c/em> is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem. At the least, it’s a more satirical, silly take on a dystopian genre that usually receives more somber treatments. \u003cem>Mockingjay — Part 1\u003c/em> certainly never had John Cena trying to stomp out a groin on fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zkkQYR9yYZo\u003c/p>\n\u003cp>\u003cem>Jackpot!\u003c/em>, which debuts Thursday on Prime Video, stars Awkwafina as Katie Kim, a former child actor who, out of midlife desperation, has returned to Los Angeles in 2030 to try to break back into the movie business. A Hollywood where half the town is out for blood is, of course, not such a far-fetched, futuristic concept. That backdrop of raging competitiveness is a running gag in \u003cem>Jackpot!\u003c/em> Katie is at an audition when she’s announced as the lottery winner, immediately sending the other auditioning actors after her head.\u003c/p>\n\u003cp>As the quickly forming mob closes in on Katie, a pinstripe suit-clad man comes to the rescue, pledging to protect her for a 10% fee. Noel Cassidy (John Cena) is his name, and, as the two make their getaway, a buddy comedy ensues. Aside from the main task of staying alive, the abiding tension of the movie is how much Katie can trust Noel, and why this very sincere special agent is so dedicated to saving lives. Not only does Noel keep Katie from harm, he makes sure to put a helmet on anyone’s head before kicking them out of a moving car.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Awkwafina’s sarcasm plays well off Cena’s nice-guy earnestness. In one scene, she says he looks like “a bulldog that a witch cast a spell on and turned into a human.” Any comedy with her in the lead role has a fairly high floor, yet \u003cem>Jackpot!\u003c/em> never pays off. It’s amiably disordered but the high-concept always feels like a ridiculous goof, and its predictable machinations grow increasingly tiresome. Still, this is the rare film where you can say Machine Gun Kelly (whose panic room comes in handy for Katie and Noel) is a surprisingly perfect tonal fit. (Later, a turtlenecked Simu Liu turns up as the smarmy head of a larger, better funder protection agency.)\u003c/p>\n\u003cp>Feig, the director of \u003cem>Bridesmaids\u003c/em>, \u003cem>Spy\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/122753/the_heat_is_absolutely_revolutionary_for_being_mostly_ordinary\">\u003cem>The Heat\u003c/em>\u003c/a> and 2016’s \u003ca href=\"https://www.kqed.org/pop/30573/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend\">\u003cem>Ghostbusters\u003c/em>\u003c/a>, may be more adept at balancing broad comedy and action sequences than any other working filmmaker. But the big-screen comedy heyday he was once so central to has largely faded in recent years, as studios have grown disappointingly reluctant to gamble with laughs in theaters. It’s hard not to see \u003cem>Jackpot!\u003c/em> — which pales next to Feig’s better films — as an example of this diminished era for theatrical comedies. Then again, as Awkwafina notes in \u003cem>Jackpot!\u003c/em> Hollywood stardom isn’t what it once was. Now, she says, even wrestlers and YouTubers can do it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jackpot!’ begins streaming on Prime Video on Aug. 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everyone else is free to try to kill the winner and take the prizemoney. The “winner” has until sundown to survive and keep their money. The only rule: No guns. Hovering drones keep an eye on winners, helping violent mobs find their way to him or her. This state-sponsored \u003ca href=\"https://www.kqed.org/pop/tag/the-hunger-games\">Hunger Game\u003c/a> is the new low for a government depleted of funds. Meanwhile, the local TV news chipperly announces a few new billionaires every day.\u003c/p>\n\u003cp>My principle disappointment with \u003cem>Jackpot!\u003c/em> is that they didn’t go with a title like \u003cem>Mega Murders\u003c/em> or its original name: \u003cem>Grand Theft Lotto\u003c/em>. This is a very high concept for a comedy, one that Feig and screenwriter Rob Yescombe lean into to craft a mildly entertaining, streaming-only comedy that’s only a touch less disposable than a losing Powerball ticket.\u003c/p>\n\u003cp>Mostly, \u003cem>Jackpot!\u003c/em> is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem. At the least, it’s a more satirical, silly take on a dystopian genre that usually receives more somber treatments. \u003cem>Mockingjay — Part 1\u003c/em> certainly never had John Cena trying to stomp out a groin on fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zkkQYR9yYZo'\n title='//www.youtube.com/embed/zkkQYR9yYZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Jackpot!\u003c/em>, which debuts Thursday on Prime Video, stars Awkwafina as Katie Kim, a former child actor who, out of midlife desperation, has returned to Los Angeles in 2030 to try to break back into the movie business. A Hollywood where half the town is out for blood is, of course, not such a far-fetched, futuristic concept. That backdrop of raging competitiveness is a running gag in \u003cem>Jackpot!\u003c/em> Katie is at an audition when she’s announced as the lottery winner, immediately sending the other auditioning actors after her head.\u003c/p>\n\u003cp>As the quickly forming mob closes in on Katie, a pinstripe suit-clad man comes to the rescue, pledging to protect her for a 10% fee. Noel Cassidy (John Cena) is his name, and, as the two make their getaway, a buddy comedy ensues. Aside from the main task of staying alive, the abiding tension of the movie is how much Katie can trust Noel, and why this very sincere special agent is so dedicated to saving lives. Not only does Noel keep Katie from harm, he makes sure to put a helmet on anyone’s head before kicking them out of a moving car.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Awkwafina’s sarcasm plays well off Cena’s nice-guy earnestness. In one scene, she says he looks like “a bulldog that a witch cast a spell on and turned into a human.” Any comedy with her in the lead role has a fairly high floor, yet \u003cem>Jackpot!\u003c/em> never pays off. It’s amiably disordered but the high-concept always feels like a ridiculous goof, and its predictable machinations grow increasingly tiresome. Still, this is the rare film where you can say Machine Gun Kelly (whose panic room comes in handy for Katie and Noel) is a surprisingly perfect tonal fit. (Later, a turtlenecked Simu Liu turns up as the smarmy head of a larger, better funder protection agency.)\u003c/p>\n\u003cp>Feig, the director of \u003cem>Bridesmaids\u003c/em>, \u003cem>Spy\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/122753/the_heat_is_absolutely_revolutionary_for_being_mostly_ordinary\">\u003cem>The Heat\u003c/em>\u003c/a> and 2016’s \u003ca href=\"https://www.kqed.org/pop/30573/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend\">\u003cem>Ghostbusters\u003c/em>\u003c/a>, may be more adept at balancing broad comedy and action sequences than any other working filmmaker. But the big-screen comedy heyday he was once so central to has largely faded in recent years, as studios have grown disappointingly reluctant to gamble with laughs in theaters. It’s hard not to see \u003cem>Jackpot!\u003c/em> — which pales next to Feig’s better films — as an example of this diminished era for theatrical comedies. Then again, as Awkwafina notes in \u003cem>Jackpot!\u003c/em> Hollywood stardom isn’t what it once was. Now, she says, even wrestlers and YouTubers can do it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jackpot!’ begins streaming on Prime Video on Aug. 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-pressing-question-about-tim-walz-and-jd-vance-who-should-play-them-on-snl",
"title": "A Pressing Question About Tim Walz and JD Vance: Who Should Play Them on ‘SNL’?",
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"content": "\u003cp>Now that Tim Walz has been named the Democratic candidate for vice president, it’s time to tackle the most pressing question left in media and politics: Who will play the earnest ex-schoolteacher-turned-governor-turned-dad jokes magnet on \u003cem>Saturday Night Live\u003c/em>?\u003c/p>\n\u003cp>One favorite has already dropped out: comic actor Steve Martin told \u003cem>The Los Angeles Times\u003c/em> \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2024-08-07/steve-martin-will-not-play-tim-walz-on-saturday-night-live\">he turned down an offer\u003c/a> from SNL executive producer Lorne Michaels to play the Minnesota governor, a fellow balding, white-haired guy with a wide smile.\u003c/p>\n\u003cp>[aside postid='arts_13955101']“I said, ‘Lorne, I’m not an impressionist,’” Martin told \u003cem>Times\u003c/em> columnist Glenn Whipp. “You need someone who can really nail the guy.’ I was picked because I have gray hair and glasses.”\u003c/p>\n\u003cp>Fans had been circulating pictures of Martin online with \u003cem>SNL\u003c/em> alum Maya Rudolph, \u003ca href=\"https://www.npr.org/2024/07/23/nx-s1-5049585/maya-rudolph-kamala-harris-snl\">adding to buzz\u003c/a> she may reprise playing Vice President Harris — this time as the Democratic presidential nominee — when the show returns to new episodes this fall.\u003c/p>\n\u003ch3>Why this discussion matters\u003c/h3>\n\u003cp>Excitement over Martin reminded me of the moment Sarah Palin was named a vice presidential candidate in 2008, prompting loads of comedy nerds to send around emails noting how much Palin looked like another \u003cem>SNL\u003c/em> alum, Tina Fey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fey’s \u003ca href=\"https://www.youtube.com/watch?v=vSOLz1YBFG0\">impression of Palin\u003c/a> eventually dominated pop culture so much, people believed the politician — then Alaska’s governor — really said, “I can see Russia from my house,” a line that Fey actually dropped during \u003cem>SNL\u003c/em>’s season premiere in September 2008.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSOLz1YBFG0&t=118s\u003c/p>\n\u003cp>Images of Gerald Ford as a clumsy doofus, George H.W. Bush as a patrician so stiff his words sounded like gibberish, and Al Gore as a stuffy know-it-all obsessed with the word “lockbox,” all come from devastating \u003cem>SNL\u003c/em> parodies. So who plays Walz — and how — may affect how history remembers him more than anything he actually does.\u003c/p>\n\u003cp>(Ditto for GOP vice presidential candidate JD Vance, whose selection didn’t quite inspire the same level of \u003cem>SNL\u003c/em> fancasting online).\u003c/p>\n\u003cp>I sympathize with purists who insist one of the show’s castmembers should get a shot at playing new figures like Walz or Vance — in the same way James Austin Johnson has electrified viewers with his amazing take on former President Donald Trump.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Izukxr-SfsM\u003c/p>\n\u003cp>But Michaels discovered long ago that stunt casting celebrities brings attention and ratings. Even if they don’t really bother trying to imitate the people they’re playing, like Robert DeNiro and Ben Stiller (as Robert Mueller and Michael Cohen, respectively).\u003c/p>\n\u003cp>So here’s my short list of the folks left who Michaels should consider casting as Walz — along with a couple recommendations for Vance. Because teaching us how to laugh at these people just might help us understand them — or at least learn to tolerate them.\u003c/p>\n\u003ch3>Jim Gaffigan\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>He’s a brilliant standup comic, with multiple Grammy nominations and specials aired or about to debut on Netflix, Prime Video and Hulu. He’s from the Midwest — raised in Indiana, championed by fellow Hoosier David Letterman — with bits centered on being a father of five, married to a wife so devout he calls her a “Shiite Catholic.” He’s got the stocky build and blonde, thinning hair, along with acting chops from loads of TV and film work, including TV Land’s \u003cem>The Jim Gaffigan Show\u003c/em>, \u003cem>Law & Order\u003c/em> and, recently, pal Jerry Seinfeld’s Netflix movie \u003cem>Unfrosted\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13886669']\u003cstrong>CONS:\u003c/strong> He doesn’t seem to be down with the \u003cem>SNL\u003c/em> crew; despite a long career in comedy, he’s never hosted the show.\u003c/p>\n\u003ch3>Tracy Letts\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> A consummate actor and playwright who has won Tony awards and a Pulitzer prize, he’s better known for his self-described specialty playing “a—holes in suits” in films and TV shows like \u003cem>Ford v. Ferrari, Lady Bird\u003c/em> and \u003cem>Winning Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Though he had early roles in sitcoms like \u003cem>Seinfeld \u003c/em>and \u003cem>The Drew Carey Show\u003c/em>, he’s not really known for comedy.\u003c/p>\n\u003ch3>Melissa McCarthy\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Hear me out. She’s a brilliant comedic actor with a long history of guesting on the show. And she delivered a sidesplitting take on Trump’s former spokesperson Sean Spicer that perfectly captured his clueless bluster.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UWuc18xISwI\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Despite his Big Dad Energy, Walz is such a masculine guy — hunter, former football coach ex-military — that, funny as it might be to see McCarthy give it a shot, \u003cem>SNL\u003c/em> may just want a guy in the role.\u003c/p>\n\u003ch3>Will Ferrell\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Amazing at improvisational and sketch comedy, he’s an SNL alum who has played everyone from George W. Bush to former Attorney General Janet Reno.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> His oddball energy is a little eccentric and sharp for playing a guy who comes off as America’s goofy father figure.\u003c/p>\n\u003ch3>The ghost of Chris Farley\u003c/h3>\n\u003cp>[aside postid='arts_13961732']\u003cstrong>PROS:\u003c/strong> The \u003cem>SNL\u003c/em> star had an over-the-top exuberance, unkempt blonde hair and talent for self-deprecating humor that seemed like a cartoonishly exaggerated version of Walz’s vibe — perfect for a parody sketch.\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Just another reminder of what the comedy world lost in 1997 when he died at age 33 after an overdose. (Though his younger brother, comic and actor Kevin Farley, might also be an able contender).\u003c/p>\n\u003ch3>Jason Sudeikis — as Walz and/or Vance\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> An alum of the show, he knows his way around sketch comedy and political impressions — he played Joe Biden and Mitt Romney at different times. He’s also got a facility with corny, dad-style humor, as evidenced by his time playing the earnest, fictional coach on \u003cem>Ted Lasso\u003c/em>. Anyone who remembers his work as one half of a self-centered yuppie couple in the “Two A-holes” sketches (with another \u003cem>SNL\u003c/em> ace, Kristen Wiig), also knows he has a knack for playing haughty, entitled white guys.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gUCaOV5nbyk\u003c/p>\n\u003cp>\u003cstrong>CONS\u003c/strong>: He doesn’t quite look like Walz — frankly, he’s a little too thin and good looking. And his success as Vance might be directly proportional to the quality of the fake beard and hairpiece they can slap on him.\u003c/p>\n\u003ch3>My first choice for Vance: Zach Galifianakis\u003c/h3>\n\u003cp>\u003cstrong>PROS\u003c/strong>: He’s got the bushy brown beard, the shock of thick hair and a talent for playing clueless egotists honed on his interview parody show, \u003cem>Between Two Ferns\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> He’ll be so good we may forget how odd Vance is in real life.\u003c/p>\n\u003ch3>Another great Vance: Jon Hamm\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>An ace dramatic actor whose secret weapon is a sharp knack for comedy (see \u003cem>30 Rock, Bridesmaids\u003c/em>), he’s also great at making audiences love difficult people (see \u003cem>Mad Men\u003c/em>). His turn as a cult leader on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em> proves he can make great comedy out of playing quirky big shots. And he’s also a friend of \u003cem>SNL\u003c/em>, hosting the show three times and making cameos in multiple skits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Hamm will also need a convincing wig or two to make this work. And given all the other cool roles he’s been in recently — from \u003cem>Fargo\u003c/em> to \u003cem>The Morning Show\u003c/em> — \u003cem>SNL\u003c/em> might have to work hard to keep him in the mix.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that Tim Walz has been named the Democratic candidate for vice president, it’s time to tackle the most pressing question left in media and politics: Who will play the earnest ex-schoolteacher-turned-governor-turned-dad jokes magnet on \u003cem>Saturday Night Live\u003c/em>?\u003c/p>\n\u003cp>One favorite has already dropped out: comic actor Steve Martin told \u003cem>The Los Angeles Times\u003c/em> \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2024-08-07/steve-martin-will-not-play-tim-walz-on-saturday-night-live\">he turned down an offer\u003c/a> from SNL executive producer Lorne Michaels to play the Minnesota governor, a fellow balding, white-haired guy with a wide smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I said, ‘Lorne, I’m not an impressionist,’” Martin told \u003cem>Times\u003c/em> columnist Glenn Whipp. “You need someone who can really nail the guy.’ I was picked because I have gray hair and glasses.”\u003c/p>\n\u003cp>Fans had been circulating pictures of Martin online with \u003cem>SNL\u003c/em> alum Maya Rudolph, \u003ca href=\"https://www.npr.org/2024/07/23/nx-s1-5049585/maya-rudolph-kamala-harris-snl\">adding to buzz\u003c/a> she may reprise playing Vice President Harris — this time as the Democratic presidential nominee — when the show returns to new episodes this fall.\u003c/p>\n\u003ch3>Why this discussion matters\u003c/h3>\n\u003cp>Excitement over Martin reminded me of the moment Sarah Palin was named a vice presidential candidate in 2008, prompting loads of comedy nerds to send around emails noting how much Palin looked like another \u003cem>SNL\u003c/em> alum, Tina Fey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fey’s \u003ca href=\"https://www.youtube.com/watch?v=vSOLz1YBFG0\">impression of Palin\u003c/a> eventually dominated pop culture so much, people believed the politician — then Alaska’s governor — really said, “I can see Russia from my house,” a line that Fey actually dropped during \u003cem>SNL\u003c/em>’s season premiere in September 2008.\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/vSOLz1YBFG0'\n title='//www.youtube.com/embed/vSOLz1YBFG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Images of Gerald Ford as a clumsy doofus, George H.W. Bush as a patrician so stiff his words sounded like gibberish, and Al Gore as a stuffy know-it-all obsessed with the word “lockbox,” all come from devastating \u003cem>SNL\u003c/em> parodies. So who plays Walz — and how — may affect how history remembers him more than anything he actually does.\u003c/p>\n\u003cp>(Ditto for GOP vice presidential candidate JD Vance, whose selection didn’t quite inspire the same level of \u003cem>SNL\u003c/em> fancasting online).\u003c/p>\n\u003cp>I sympathize with purists who insist one of the show’s castmembers should get a shot at playing new figures like Walz or Vance — in the same way James Austin Johnson has electrified viewers with his amazing take on former President Donald Trump.\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/Izukxr-SfsM'\n title='//www.youtube.com/embed/Izukxr-SfsM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Michaels discovered long ago that stunt casting celebrities brings attention and ratings. Even if they don’t really bother trying to imitate the people they’re playing, like Robert DeNiro and Ben Stiller (as Robert Mueller and Michael Cohen, respectively).\u003c/p>\n\u003cp>So here’s my short list of the folks left who Michaels should consider casting as Walz — along with a couple recommendations for Vance. Because teaching us how to laugh at these people just might help us understand them — or at least learn to tolerate them.\u003c/p>\n\u003ch3>Jim Gaffigan\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>He’s a brilliant standup comic, with multiple Grammy nominations and specials aired or about to debut on Netflix, Prime Video and Hulu. He’s from the Midwest — raised in Indiana, championed by fellow Hoosier David Letterman — with bits centered on being a father of five, married to a wife so devout he calls her a “Shiite Catholic.” He’s got the stocky build and blonde, thinning hair, along with acting chops from loads of TV and film work, including TV Land’s \u003cem>The Jim Gaffigan Show\u003c/em>, \u003cem>Law & Order\u003c/em> and, recently, pal Jerry Seinfeld’s Netflix movie \u003cem>Unfrosted\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>CONS:\u003c/strong> He doesn’t seem to be down with the \u003cem>SNL\u003c/em> crew; despite a long career in comedy, he’s never hosted the show.\u003c/p>\n\u003ch3>Tracy Letts\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> A consummate actor and playwright who has won Tony awards and a Pulitzer prize, he’s better known for his self-described specialty playing “a—holes in suits” in films and TV shows like \u003cem>Ford v. Ferrari, Lady Bird\u003c/em> and \u003cem>Winning Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Though he had early roles in sitcoms like \u003cem>Seinfeld \u003c/em>and \u003cem>The Drew Carey Show\u003c/em>, he’s not really known for comedy.\u003c/p>\n\u003ch3>Melissa McCarthy\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Hear me out. She’s a brilliant comedic actor with a long history of guesting on the show. And she delivered a sidesplitting take on Trump’s former spokesperson Sean Spicer that perfectly captured his clueless bluster.\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/UWuc18xISwI'\n title='//www.youtube.com/embed/UWuc18xISwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>CONS:\u003c/strong> Despite his Big Dad Energy, Walz is such a masculine guy — hunter, former football coach ex-military — that, funny as it might be to see McCarthy give it a shot, \u003cem>SNL\u003c/em> may just want a guy in the role.\u003c/p>\n\u003ch3>Will Ferrell\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Amazing at improvisational and sketch comedy, he’s an SNL alum who has played everyone from George W. Bush to former Attorney General Janet Reno.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> His oddball energy is a little eccentric and sharp for playing a guy who comes off as America’s goofy father figure.\u003c/p>\n\u003ch3>The ghost of Chris Farley\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>PROS:\u003c/strong> The \u003cem>SNL\u003c/em> star had an over-the-top exuberance, unkempt blonde hair and talent for self-deprecating humor that seemed like a cartoonishly exaggerated version of Walz’s vibe — perfect for a parody sketch.\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Just another reminder of what the comedy world lost in 1997 when he died at age 33 after an overdose. (Though his younger brother, comic and actor Kevin Farley, might also be an able contender).\u003c/p>\n\u003ch3>Jason Sudeikis — as Walz and/or Vance\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> An alum of the show, he knows his way around sketch comedy and political impressions — he played Joe Biden and Mitt Romney at different times. He’s also got a facility with corny, dad-style humor, as evidenced by his time playing the earnest, fictional coach on \u003cem>Ted Lasso\u003c/em>. Anyone who remembers his work as one half of a self-centered yuppie couple in the “Two A-holes” sketches (with another \u003cem>SNL\u003c/em> ace, Kristen Wiig), also knows he has a knack for playing haughty, entitled white guys.\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/gUCaOV5nbyk'\n title='//www.youtube.com/embed/gUCaOV5nbyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>CONS\u003c/strong>: He doesn’t quite look like Walz — frankly, he’s a little too thin and good looking. And his success as Vance might be directly proportional to the quality of the fake beard and hairpiece they can slap on him.\u003c/p>\n\u003ch3>My first choice for Vance: Zach Galifianakis\u003c/h3>\n\u003cp>\u003cstrong>PROS\u003c/strong>: He’s got the bushy brown beard, the shock of thick hair and a talent for playing clueless egotists honed on his interview parody show, \u003cem>Between Two Ferns\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> He’ll be so good we may forget how odd Vance is in real life.\u003c/p>\n\u003ch3>Another great Vance: Jon Hamm\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>An ace dramatic actor whose secret weapon is a sharp knack for comedy (see \u003cem>30 Rock, Bridesmaids\u003c/em>), he’s also great at making audiences love difficult people (see \u003cem>Mad Men\u003c/em>). His turn as a cult leader on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em> proves he can make great comedy out of playing quirky big shots. And he’s also a friend of \u003cem>SNL\u003c/em>, hosting the show three times and making cameos in multiple skits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Hamm will also need a convincing wig or two to make this work. And given all the other cool roles he’s been in recently — from \u003cem>Fargo\u003c/em> to \u003cem>The Morning Show\u003c/em> — \u003cem>SNL\u003c/em> might have to work hard to keep him in the mix.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the years, TV has offered up an entire precinct worth of women cops — from Angie Dickinson’s spicy Pepper Anderson in the ‘70s hit \u003cem>Police Woman,\u003c/em> to Helen Mirren’s flinty Jane Tennison in the great ’90s series \u003cem>Prime Suspect,\u003c/em> to Mariska Hargitay’s driven Olivia Benson, who will doubtless still be solving sex crimes on \u003cem>Law & Order: SVU\u003c/em> long after the oceans have swallowed New York City. We’ve watched so many women with badges that it’s easy to forget there was a time when most men believed there shouldn’t be any.\u003c/p>\n\u003cp>That belief is the starting point of a new Mexican-made TV series, \u003cem>Women in Blue\u003c/em> which is streaming on AppleTV+. Set in the hyper-conservative Mexico of 1971, this lively 10-part drama focuses on four vastly different women who go to work for the police and discover that it’s easier to capture a serial killer than to deal with the assorted misogynies of the men around them.\u003c/p>\n\u003cp>[aside postid='arts_13960144']As the story begins, Mexico City is being terrorized by a woman-killing maniac known as the Undresser, for the way he leaves his victims. To distract from the force’s failure to catch this killer, the police chief cooks up a publicity stunt. He announces that he’s opening up the police department to women, an idea he feels sure will get scads of upbeat coverage.\u003c/p>\n\u003cp>We follow four new recruits. Foremost among them is María, who once dreamed of being a detective but wound up an elegant bourgeois mother with a husband you know is cheating the instant you see him. There’s her sister Valentina, a revved-up feminist who hates the government. There’s Ángeles, a loner who does most of the actual crime solving. And finally there’s Gabina, a born cop whose policeman father slaps her face for joining the force against his wishes.\u003c/p>\n\u003cp>These four shine in training, but when it comes time to do the job — dressed in blue mini-skirts! — they’re treated as a joke. Sent out to patrol a park, they’re given not weapons but a bag with coins — to call the cops if they uncover a crime. Naturally, they \u003cem>do\u003c/em> uncover one — they find the Undresser’s latest victim. And even though they’re ordered not to, they throw themselves into tracking down the killer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqHDHnGq2O0\u003c/p>\n\u003cp>Early on, I got a bit bored watching the relentless sexism faced by our heroines. I don’t doubt its realism, but nothing is more tiresome than having to watch people be bigoted in stupid ways that the world has passed by. This is 2024, and hearing some macho detective snarl that women can’t be cops made me fear that \u003cem>Women in Blue\u003c/em> might be one of those shows that simply flatters its audience by letting us feel more enlightened than the people from an earlier era.\u003c/p>\n\u003cp>Happily, the show grows more interesting, with each of the quartet facing a different form of misogyny, even within their own families. And like them, we discover some startling wrinkles in Mexican law back then — like Article 169 of the country’s civil code. It held that a Mexican woman could be forced to quit a job if it affects the “integrity” of her family — and the person who got to decide on this was her husband. It’s since been repealed.\u003c/p>\n\u003cp>[aside postid='arts_13960317']Although there are original works about the shocking level of femicide in Mexico — most famously \u003ca href=\"https://www.npr.org/2007/04/28/9852989/poets-and-gangsters-discovering-roberto-bolano\">Roberto Bolaño\u003c/a>’s great novel \u003ca href=\"https://www.npr.org/2009/01/27/99517680/a-final-epic-work-from-roberto-bolano\">\u003cem>2666\u003c/em>\u003c/a> — \u003cem>Women in Blue\u003c/em>’s crime plot is pretty generic. It resorts to such tired standbys as the cultivated serial killer who gives them brainy tips from his prison cell and the murderer deciding to target the women in blue who are investigating him.\u003c/p>\n\u003cp>The show’s real strength lies in showing how each of the heroines is transformed by joining the force, be it Ángeles breaking free of her emotional isolation or the idealistic Gabina discovering the brutal, corrupt truth about policing in Mexico. The story’s feminist angle is clearest in María, who, with her nice house, fancy clothes and George Clooney-looking husband, is the one who would seem to have it made. She’s the one who must decide whether she’ll sacrifice comfort to work in a police department whose men don’t want women in it.\u003c/p>\n\u003cp>By the end of \u003cem>Women in Blue\u003c/em>, its heroines — and its audience — come face to face with a radical truth: What drives the Undresser to kill women is grounded in the ingrained patriarchal values that ordinary women lived with every single day.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women in Blue’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the years, TV has offered up an entire precinct worth of women cops — from Angie Dickinson’s spicy Pepper Anderson in the ‘70s hit \u003cem>Police Woman,\u003c/em> to Helen Mirren’s flinty Jane Tennison in the great ’90s series \u003cem>Prime Suspect,\u003c/em> to Mariska Hargitay’s driven Olivia Benson, who will doubtless still be solving sex crimes on \u003cem>Law & Order: SVU\u003c/em> long after the oceans have swallowed New York City. We’ve watched so many women with badges that it’s easy to forget there was a time when most men believed there shouldn’t be any.\u003c/p>\n\u003cp>That belief is the starting point of a new Mexican-made TV series, \u003cem>Women in Blue\u003c/em> which is streaming on AppleTV+. Set in the hyper-conservative Mexico of 1971, this lively 10-part drama focuses on four vastly different women who go to work for the police and discover that it’s easier to capture a serial killer than to deal with the assorted misogynies of the men around them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the story begins, Mexico City is being terrorized by a woman-killing maniac known as the Undresser, for the way he leaves his victims. To distract from the force’s failure to catch this killer, the police chief cooks up a publicity stunt. He announces that he’s opening up the police department to women, an idea he feels sure will get scads of upbeat coverage.\u003c/p>\n\u003cp>We follow four new recruits. Foremost among them is María, who once dreamed of being a detective but wound up an elegant bourgeois mother with a husband you know is cheating the instant you see him. There’s her sister Valentina, a revved-up feminist who hates the government. There’s Ángeles, a loner who does most of the actual crime solving. And finally there’s Gabina, a born cop whose policeman father slaps her face for joining the force against his wishes.\u003c/p>\n\u003cp>These four shine in training, but when it comes time to do the job — dressed in blue mini-skirts! — they’re treated as a joke. Sent out to patrol a park, they’re given not weapons but a bag with coins — to call the cops if they uncover a crime. Naturally, they \u003cem>do\u003c/em> uncover one — they find the Undresser’s latest victim. And even though they’re ordered not to, they throw themselves into tracking down the killer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KqHDHnGq2O0'\n title='//www.youtube.com/embed/KqHDHnGq2O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early on, I got a bit bored watching the relentless sexism faced by our heroines. I don’t doubt its realism, but nothing is more tiresome than having to watch people be bigoted in stupid ways that the world has passed by. This is 2024, and hearing some macho detective snarl that women can’t be cops made me fear that \u003cem>Women in Blue\u003c/em> might be one of those shows that simply flatters its audience by letting us feel more enlightened than the people from an earlier era.\u003c/p>\n\u003cp>Happily, the show grows more interesting, with each of the quartet facing a different form of misogyny, even within their own families. And like them, we discover some startling wrinkles in Mexican law back then — like Article 169 of the country’s civil code. It held that a Mexican woman could be forced to quit a job if it affects the “integrity” of her family — and the person who got to decide on this was her husband. It’s since been repealed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although there are original works about the shocking level of femicide in Mexico — most famously \u003ca href=\"https://www.npr.org/2007/04/28/9852989/poets-and-gangsters-discovering-roberto-bolano\">Roberto Bolaño\u003c/a>’s great novel \u003ca href=\"https://www.npr.org/2009/01/27/99517680/a-final-epic-work-from-roberto-bolano\">\u003cem>2666\u003c/em>\u003c/a> — \u003cem>Women in Blue\u003c/em>’s crime plot is pretty generic. It resorts to such tired standbys as the cultivated serial killer who gives them brainy tips from his prison cell and the murderer deciding to target the women in blue who are investigating him.\u003c/p>\n\u003cp>The show’s real strength lies in showing how each of the heroines is transformed by joining the force, be it Ángeles breaking free of her emotional isolation or the idealistic Gabina discovering the brutal, corrupt truth about policing in Mexico. The story’s feminist angle is clearest in María, who, with her nice house, fancy clothes and George Clooney-looking husband, is the one who would seem to have it made. She’s the one who must decide whether she’ll sacrifice comfort to work in a police department whose men don’t want women in it.\u003c/p>\n\u003cp>By the end of \u003cem>Women in Blue\u003c/em>, its heroines — and its audience — come face to face with a radical truth: What drives the Undresser to kill women is grounded in the ingrained patriarchal values that ordinary women lived with every single day.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women in Blue’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>The Bear\u003c/i> went on a tear at Wednesday morning’s Emmy nominations with a comedy-series record 23, and \u003ci>Shōgun\u003c/i> led all nominees with 25 in a dominant year across categories for FX.\u003c/p>\n\u003cp>Nominations for the acclaimed culinary phenomenon \u003ci>The Bear\u003c/i> included best comedy series and best actor in a comedy series for Jeremy Allen White — both awards it won at January’s strike-delayed ceremony, along with best actress for Ayo Edebiri, who won best supporting actress last time around.\u003c/p>\n\u003cp>[aside postID='arts_13953066,arts_13960383']It was also boosted by a bounty of guest acting nominations, including Jamie Lee Curtis and Olivia Colman, two of many Oscar winners who landed nominations.\u003c/p>\n\u003cp>\u003ci>Shōgun\u003c/i> took full advantage of the absence of last year’s top three nominees — \u003ci>Succession\u003c/i>, \u003ci>The White Lotus\u003c/i> and \u003ci>The Last of Us\u003c/i> — to dominate in drama and give FX, with a leading 93 overall nominations, the kind of strong year often reserved for HBO, which even in this “off” year managed second with 91.\u003c/p>\n\u003cp>Its nominations included best drama series, best actress in a drama series for Anna Sawai and best actor for Hiroyuki Sanada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show shook up the drama race when its makers said in May that despite reaching the end of the story of James Clavell’s historical novel about political machinations in early 17th-century Japan, they would explore making more than one season, shifting the critical darling from the limited series category to the more prestigious drama one.\u003c/p>\n\u003cfigure id=\"attachment_13940193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe\" alt=\"Two female police officers stand side-by-side wearing large padded winter coats and shining flashlights into the distance.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Reis and Jodie Foster in ‘True Detective: Night Country.’ \u003ccite>(Michele K. Short/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>True Detective: Night Country\u003c/i> was a bright spot for HBO, which lost \u003ci>Succession\u003c/i> to retirement and is between seasons on \u003ci>The White Lotus\u003c/i> and \u003ci>The Last of Us\u003c/i>.\u003c/p>\n\u003cp>The show, a semi-spinoff of the \u003ci>True Detective\u003c/i> franchise, led all limited or anthology series nominees with 19, including a best actress nomination for Jodie Foster for playing a police chief investigating mysterious deaths in the darkness of a north Alaskan winter. It’s expected to vie for the best limited series Emmy with \u003ci>Fargo\u003c/i>, which had 15 nominations and gives FX a shot at a triple crown if its favorites win drama and comedy series, and \u003ci>Baby Reindeer\u003c/i>, a minor cultural phenomenon and Emmy upstart for Netflix in recent months.\u003c/p>\n\u003cp>[aside postID='arts_13959205']Foster was another of the Academy Award winners to get Emmy nods, along with fellow multiple Oscar winner Meryl Streep, up for best supporting actress in a comedy for \u003ci>Only Murders in the Building\u003c/i>; reigning best supporting actor winner Robert Downey Jr., up for best supporting actor in a limited series for playing several characters in \u003ci>The Sympathizer\u003c/i>; and Gary Oldman, up for best actor in a drama series for \u003ci>Slow Horses\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Only Murders\u003c/i>, a perennial Emmy nominee for Hulu with few wins, outdid itself this year with 21, behind only \u003ci>Shōgun\u003c/i> and \u003ci>The Bear\u003c/i>. Leads Steve Martin and Martin Short were nominated for best actor, and, in her first Emmy nomination as a performer, Selena Gomez got a nod for best actress.\u003c/p>\n\u003cp>Old Emmy favorites also returned. Jon Hamm, who had one Emmy from 16 previous nominations, most of them for \u003ci>Mad Men\u003c/i>, got two nominations, one for actor in a limited or anthology series for \u003ci>Fargo\u003c/i> and another for supporting actor in a drama for \u003ci>The Morning Show\u003c/i>. His \u003ci>Morning Show\u003c/i> castmate Jennifer Aniston is considered by many the favorite to win best actress in a drama Emmy to go with the comedy actress trophy she won for \u003ci>Friends\u003c/i>.\u003c/p>\n\u003cp>And four-time Emmy winner Tony Shalhoub has a shot at his fifth for reprising his role as Adrian Monk in \u003ci>Mr. Monk’s Last Case: A Monk Movie\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Getting back to its traditional schedule, the show will be held Sept. 15 at the Peacock Theater in Los Angeles and air on ABC.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was also boosted by a bounty of guest acting nominations, including Jamie Lee Curtis and Olivia Colman, two of many Oscar winners who landed nominations.\u003c/p>\n\u003cp>\u003ci>Shōgun\u003c/i> took full advantage of the absence of last year’s top three nominees — \u003ci>Succession\u003c/i>, \u003ci>The White Lotus\u003c/i> and \u003ci>The Last of Us\u003c/i> — to dominate in drama and give FX, with a leading 93 overall nominations, the kind of strong year often reserved for HBO, which even in this “off” year managed second with 91.\u003c/p>\n\u003cp>Its nominations included best drama series, best actress in a drama series for Anna Sawai and best actor for Hiroyuki Sanada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show shook up the drama race when its makers said in May that despite reaching the end of the story of James Clavell’s historical novel about political machinations in early 17th-century Japan, they would explore making more than one season, shifting the critical darling from the limited series category to the more prestigious drama one.\u003c/p>\n\u003cfigure id=\"attachment_13940193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe\" alt=\"Two female police officers stand side-by-side wearing large padded winter coats and shining flashlights into the distance.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Reis and Jodie Foster in ‘True Detective: Night Country.’ \u003ccite>(Michele K. Short/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>True Detective: Night Country\u003c/i> was a bright spot for HBO, which lost \u003ci>Succession\u003c/i> to retirement and is between seasons on \u003ci>The White Lotus\u003c/i> and \u003ci>The Last of Us\u003c/i>.\u003c/p>\n\u003cp>The show, a semi-spinoff of the \u003ci>True Detective\u003c/i> franchise, led all limited or anthology series nominees with 19, including a best actress nomination for Jodie Foster for playing a police chief investigating mysterious deaths in the darkness of a north Alaskan winter. It’s expected to vie for the best limited series Emmy with \u003ci>Fargo\u003c/i>, which had 15 nominations and gives FX a shot at a triple crown if its favorites win drama and comedy series, and \u003ci>Baby Reindeer\u003c/i>, a minor cultural phenomenon and Emmy upstart for Netflix in recent months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Foster was another of the Academy Award winners to get Emmy nods, along with fellow multiple Oscar winner Meryl Streep, up for best supporting actress in a comedy for \u003ci>Only Murders in the Building\u003c/i>; reigning best supporting actor winner Robert Downey Jr., up for best supporting actor in a limited series for playing several characters in \u003ci>The Sympathizer\u003c/i>; and Gary Oldman, up for best actor in a drama series for \u003ci>Slow Horses\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Only Murders\u003c/i>, a perennial Emmy nominee for Hulu with few wins, outdid itself this year with 21, behind only \u003ci>Shōgun\u003c/i> and \u003ci>The Bear\u003c/i>. Leads Steve Martin and Martin Short were nominated for best actor, and, in her first Emmy nomination as a performer, Selena Gomez got a nod for best actress.\u003c/p>\n\u003cp>Old Emmy favorites also returned. Jon Hamm, who had one Emmy from 16 previous nominations, most of them for \u003ci>Mad Men\u003c/i>, got two nominations, one for actor in a limited or anthology series for \u003ci>Fargo\u003c/i> and another for supporting actor in a drama for \u003ci>The Morning Show\u003c/i>. His \u003ci>Morning Show\u003c/i> castmate Jennifer Aniston is considered by many the favorite to win best actress in a drama Emmy to go with the comedy actress trophy she won for \u003ci>Friends\u003c/i>.\u003c/p>\n\u003cp>And four-time Emmy winner Tony Shalhoub has a shot at his fifth for reprising his role as Adrian Monk in \u003ci>Mr. Monk’s Last Case: A Monk Movie\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Getting back to its traditional schedule, the show will be held Sept. 15 at the Peacock Theater in Los Angeles and air on ABC.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking Back on ‘Mummies Alive!’ — a Truly Bizarre, San Francisco-Set Cartoon",
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"content": "\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7C0arR310g\u003c/p>\n\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=esHLWel4lMg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\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/p7C0arR310g'\n title='//www.youtube.com/embed/p7C0arR310g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/esHLWel4lMg'\n title='//www.youtube.com/embed/esHLWel4lMg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "In ‘The Bear’ Season 3, Experimentation Is Still on the Menu",
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"content": "\u003cp>\u003cem>Season 3 of The Bear is out now from FX on Hulu. The review below contains details from the season.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>is a show about scars and ghosts, because it is in so many ways a show about consequences and grief. Not all the scars are visible, of course, and not all the ghosts are dead.\u003c/p>\n\u003cp>At the opening of the excellent third season, we find Carmy (Jeremy Allen White) alone in the dark, the morning after his new restaurant’s tryout night, staring at a gnarly old scar on his palm and thinking about people who aren’t there. People who have died, but also people he’s hurt, people he doesn’t know how to talk to, people who have changed him for good and for ill.\u003c/p>\n\u003cp>[aside postid='arts_13960144']The episode unfolds from there not in a straight line but as a looping, layered look at multiple pieces of Carmy’s life that sit on top of each other like a stack of pancakes you can cut through and expose all at once. One is this difficult morning after he got locked in the walk-in fridge. Some involve events in his family — Mikey’s death and telling Nat goodbye when he moved to New York years ago. Some involve Claire (Molly Gordon), whom he kisses in quick flashes. But mostly, we watch Carmy’s experiences in various kitchens in Chicago, on the east and west coasts, and in Copenhagen. We watch him and Luca (Will Poulter) working for chef Terry (Olivia Colman). We see him learn from chefs Daniel Boulud, Rene Redzepi and Thomas Keller, all of whom appear as themselves. We see more of the damage that was inflicted on him by the cruel New York chef played by Joel McHale.\u003c/p>\n\u003cp>While it doesn’t offer up the same pleasures we’re used to, like seeing this big cast yell back and forth, the episode is an example of \u003cem>The Bear\u003c/em>‘s greatest strength. Despite its success, the show is creatively restless, always. This is not a conventional episode of TV, let alone a conventional season opener. It’s moody and disorienting, it doesn’t advance the plot a whole lot, and it may take a couple of viewings to understand where in time you’re located. If episodes dropped one at a time, this opener might leave an audience cold. But with multiple episodes available at once, including a much more typical second episode where the restaurant is trying to get ready for its real opening night, creator Christopher Storer and the rest of the creative team can get away with this kind of experimentation, and so they do it.\u003c/p>\n\u003cfigure id=\"attachment_13960386\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png\" alt=\"A middle-aged white man with a scruffy beard stands with his head close to a closed door.\" width=\"1292\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-800x428.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-1020x546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-768x411.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ebon Moss-Bachrach as Cousin Richie. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same is true of the episodes that step away from Carmy and Sydney and Richie, even though those three characters are so beloved and mesmerizing. There aren’t any epics in this season on the scale of season two’s brilliant “Forks” and “Fishes,” but there are more intimate opportunities to visit with the rest of the cast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ayo Edebiri (who plays Sydney) directs “Napkins,” a standout episode about Tina (Liza Colón-Zayas). Not for nothing, “Napkins” also includes the strongest scene the show has ever done with Mikey (Jon Bernthal), \u003cem>The Bear\u003c/em>‘s greatest ghost of all. Abby Elliott and Jamie Lee Curtis hold down “Ice Chips,” in which Nat’s mother, Donna — also, in her way, a ghost — is not the person Nat wants on hand as she prepares to give birth, but Donna is who she’s got.\u003c/p>\n\u003cp>It’s this constant push-push-push against the obvious next move that makes \u003cem>The Bear \u003c/em>compelling. What earned so much praise in the first season was the grimy, loving clamor of The Beef, so they abandoned it for the team’s pivot to fine dining in season 2, which opened up new possibilities for stories about learning and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13959918']And now that The Bear exists and can serve food, the focus shifts again. Because what’s at stake, particularly in the late part of this third season, are questions about creativity and excellence. There is, in the real world, a \u003ca href=\"https://www.harpercollins.com/products/burn-it-down-maureen-ryan?variant=41105489330210\">push to de-romanticize\u003c/a> abusive behaviors that have long been written off as part of an initiation process that one has to endure in order to become great. And \u003cem>The Bear \u003c/em>dives headlong into its own exploration of toxicity and hard work without ever stepping over the line into didactic posturing. Instead, it goes back to those two big weapons that give it the gravity and emotional scale it maintained over its first two seasons: scars and ghosts.\u003c/p>\n\u003cp>Carmy’s industry ghosts are good and bad. He has worked for Chef Terry, who is kind and creates an environment of high standards but humane treatment — and her restaurant, Ever, transformed Richie’s life, too. But Carmy has also worked for the abusive nightmare of a boss played by Joel McHale. The scars from that job are in his anxiety and self-flagellation, but also in little habits like the neatly cut labeling tape that he attaches to deli containers and the handles of saucepans.\u003c/p>\n\u003cp>It would be lovely to believe Carmy could never become Joel McHale. But when he unveils his list of “non-negotiables” for The Bear, it’s less the items on the list and more the way he delivers the list — as an impatient authoritarian — that seems ominous. He has become obsessed with getting a Michelin star, and declares that the menu will change every single day, which upends the economics of the business and the work that’s done by Sydney, Richie, Nat, Tina, Marcus, and everybody else who works there.\u003c/p>\n\u003cfigure id=\"attachment_13960387\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png\" alt=\"A Black woman stands in a kitchen looking stressed. She is wearing a white t-shirt and black apron.\" width=\"1292\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-800x437.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-1020x557.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-768x420.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is also a very strong season for Sydney and Richie. Edebiri perfectly captures Sydney’s hesitation about attaching herself to Carmy as his obsessive focus on quality and achievement turns self-destructive. And Richie (Ebon Moss-Bachrach), who discovered he was a born fine-dining service guy when he staged at Ever, finds himself trying to protect his dining room and his right to run it. It’s their complicated love for Carmy (and each other), as well as his for them, that makes all of this feel so emotionally urgent.\u003c/p>\n\u003cp>[aside postid='arts_13959577']The idea of Carmy becoming one of Sydney’s unhappy ghosts, after all, is almost too much to take, and the lack of reconciliation after the bitter fight between Carmy and Richie through the walk-in door casts a pall over any success they have together. (The character of Claire, who felt under-written even last season, is a far less effective emotional lever, particularly now, when she is almost entirely talked about but never seen.)\u003c/p>\n\u003cp>There are, of course, things in the season that don’t work quite so well, though most of them feel less like failure than like excess. There is a little too much of the Fak family, headed by Neil, played by Matty Matheson. Neil is a brilliant creation, played brilliantly, and when he’s part of conversations with the whole staff, his presence is critical to getting the balance of those scenes right. But as the Faks multiply over the course of this season, they get a little too silly, and they also are the source of the only guest appearance out of \u003cem>many \u003c/em>big ones in the show’s history that has ever tipped over into feeling like stunt casting — into seemingly doing a thing just to do it.\u003c/p>\n\u003cfigure id=\"attachment_13960388\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png\" alt=\"Close up of a rotund man with a moustache and tattooed head.\" width=\"1290\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-768x527.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Matty Matheson as Neil Fak. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are also getting diminishing returns by the end of this season from the frequent appearances by real chefs. A lesson to Carmy from Thomas Keller goes on for too long, and a late-season gathering of real chefs, while it has its delights, also feels indulgent. It’s understandable that the show wants to make a spectacle of how beloved it is by the real food world and how much star chefs want to elbow their way into episodes. But unsurprisingly, \u003cem>The Bear\u003c/em> gets its best acting work from actors. And detouring into celebrity cameos is tricky at a moment when time with the main cast feels precious and the story is gaining steam.\u003c/p>\n\u003cp>[aside postid='arts_13959635']Speaking of which: This is not really a season; it is half a season. It ends with a cliffhanger, “To Be Continued.” It doesn’t resolve either the main plot threads or the emotional tangles that have been built over these ten episodes. That’s a choice the people behind the show have made, and it candidly seems like a perilous one for a project that presumably won’t come back for many months. Because of the exceptional acting and writing, they will perhaps get away with the anticlimax of it (so different from the big thunderclaps of the last two seasons ending), but it might have worked better to give \u003cem>some \u003c/em>resolution to \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>All in all, though, this remains a tremendously creative, audacious show that is full of pleasures both expected and unexpected. The fact that it doesn’t repeat its successes as much as it tries to reshape itself each time around is perhaps like Carmy’s ever-changing menu: It can lead to a certain number of misfires, but it’s a way to show and share all that you can do.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All Season 3 episodes of ‘The Bear’ are streaming now via FX and Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Season 3 of The Bear is out now from FX on Hulu. The review below contains details from the season.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>is a show about scars and ghosts, because it is in so many ways a show about consequences and grief. Not all the scars are visible, of course, and not all the ghosts are dead.\u003c/p>\n\u003cp>At the opening of the excellent third season, we find Carmy (Jeremy Allen White) alone in the dark, the morning after his new restaurant’s tryout night, staring at a gnarly old scar on his palm and thinking about people who aren’t there. People who have died, but also people he’s hurt, people he doesn’t know how to talk to, people who have changed him for good and for ill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The episode unfolds from there not in a straight line but as a looping, layered look at multiple pieces of Carmy’s life that sit on top of each other like a stack of pancakes you can cut through and expose all at once. One is this difficult morning after he got locked in the walk-in fridge. Some involve events in his family — Mikey’s death and telling Nat goodbye when he moved to New York years ago. Some involve Claire (Molly Gordon), whom he kisses in quick flashes. But mostly, we watch Carmy’s experiences in various kitchens in Chicago, on the east and west coasts, and in Copenhagen. We watch him and Luca (Will Poulter) working for chef Terry (Olivia Colman). We see him learn from chefs Daniel Boulud, Rene Redzepi and Thomas Keller, all of whom appear as themselves. We see more of the damage that was inflicted on him by the cruel New York chef played by Joel McHale.\u003c/p>\n\u003cp>While it doesn’t offer up the same pleasures we’re used to, like seeing this big cast yell back and forth, the episode is an example of \u003cem>The Bear\u003c/em>‘s greatest strength. Despite its success, the show is creatively restless, always. This is not a conventional episode of TV, let alone a conventional season opener. It’s moody and disorienting, it doesn’t advance the plot a whole lot, and it may take a couple of viewings to understand where in time you’re located. If episodes dropped one at a time, this opener might leave an audience cold. But with multiple episodes available at once, including a much more typical second episode where the restaurant is trying to get ready for its real opening night, creator Christopher Storer and the rest of the creative team can get away with this kind of experimentation, and so they do it.\u003c/p>\n\u003cfigure id=\"attachment_13960386\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png\" alt=\"A middle-aged white man with a scruffy beard stands with his head close to a closed door.\" width=\"1292\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-800x428.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-1020x546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-768x411.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ebon Moss-Bachrach as Cousin Richie. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same is true of the episodes that step away from Carmy and Sydney and Richie, even though those three characters are so beloved and mesmerizing. There aren’t any epics in this season on the scale of season two’s brilliant “Forks” and “Fishes,” but there are more intimate opportunities to visit with the rest of the cast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ayo Edebiri (who plays Sydney) directs “Napkins,” a standout episode about Tina (Liza Colón-Zayas). Not for nothing, “Napkins” also includes the strongest scene the show has ever done with Mikey (Jon Bernthal), \u003cem>The Bear\u003c/em>‘s greatest ghost of all. Abby Elliott and Jamie Lee Curtis hold down “Ice Chips,” in which Nat’s mother, Donna — also, in her way, a ghost — is not the person Nat wants on hand as she prepares to give birth, but Donna is who she’s got.\u003c/p>\n\u003cp>It’s this constant push-push-push against the obvious next move that makes \u003cem>The Bear \u003c/em>compelling. What earned so much praise in the first season was the grimy, loving clamor of The Beef, so they abandoned it for the team’s pivot to fine dining in season 2, which opened up new possibilities for stories about learning and self-actualization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And now that The Bear exists and can serve food, the focus shifts again. Because what’s at stake, particularly in the late part of this third season, are questions about creativity and excellence. There is, in the real world, a \u003ca href=\"https://www.harpercollins.com/products/burn-it-down-maureen-ryan?variant=41105489330210\">push to de-romanticize\u003c/a> abusive behaviors that have long been written off as part of an initiation process that one has to endure in order to become great. And \u003cem>The Bear \u003c/em>dives headlong into its own exploration of toxicity and hard work without ever stepping over the line into didactic posturing. Instead, it goes back to those two big weapons that give it the gravity and emotional scale it maintained over its first two seasons: scars and ghosts.\u003c/p>\n\u003cp>Carmy’s industry ghosts are good and bad. He has worked for Chef Terry, who is kind and creates an environment of high standards but humane treatment — and her restaurant, Ever, transformed Richie’s life, too. But Carmy has also worked for the abusive nightmare of a boss played by Joel McHale. The scars from that job are in his anxiety and self-flagellation, but also in little habits like the neatly cut labeling tape that he attaches to deli containers and the handles of saucepans.\u003c/p>\n\u003cp>It would be lovely to believe Carmy could never become Joel McHale. But when he unveils his list of “non-negotiables” for The Bear, it’s less the items on the list and more the way he delivers the list — as an impatient authoritarian — that seems ominous. He has become obsessed with getting a Michelin star, and declares that the menu will change every single day, which upends the economics of the business and the work that’s done by Sydney, Richie, Nat, Tina, Marcus, and everybody else who works there.\u003c/p>\n\u003cfigure id=\"attachment_13960387\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png\" alt=\"A Black woman stands in a kitchen looking stressed. She is wearing a white t-shirt and black apron.\" width=\"1292\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-800x437.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-1020x557.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-768x420.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is also a very strong season for Sydney and Richie. Edebiri perfectly captures Sydney’s hesitation about attaching herself to Carmy as his obsessive focus on quality and achievement turns self-destructive. And Richie (Ebon Moss-Bachrach), who discovered he was a born fine-dining service guy when he staged at Ever, finds himself trying to protect his dining room and his right to run it. It’s their complicated love for Carmy (and each other), as well as his for them, that makes all of this feel so emotionally urgent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The idea of Carmy becoming one of Sydney’s unhappy ghosts, after all, is almost too much to take, and the lack of reconciliation after the bitter fight between Carmy and Richie through the walk-in door casts a pall over any success they have together. (The character of Claire, who felt under-written even last season, is a far less effective emotional lever, particularly now, when she is almost entirely talked about but never seen.)\u003c/p>\n\u003cp>There are, of course, things in the season that don’t work quite so well, though most of them feel less like failure than like excess. There is a little too much of the Fak family, headed by Neil, played by Matty Matheson. Neil is a brilliant creation, played brilliantly, and when he’s part of conversations with the whole staff, his presence is critical to getting the balance of those scenes right. But as the Faks multiply over the course of this season, they get a little too silly, and they also are the source of the only guest appearance out of \u003cem>many \u003c/em>big ones in the show’s history that has ever tipped over into feeling like stunt casting — into seemingly doing a thing just to do it.\u003c/p>\n\u003cfigure id=\"attachment_13960388\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png\" alt=\"Close up of a rotund man with a moustache and tattooed head.\" width=\"1290\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-768x527.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Matty Matheson as Neil Fak. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are also getting diminishing returns by the end of this season from the frequent appearances by real chefs. A lesson to Carmy from Thomas Keller goes on for too long, and a late-season gathering of real chefs, while it has its delights, also feels indulgent. It’s understandable that the show wants to make a spectacle of how beloved it is by the real food world and how much star chefs want to elbow their way into episodes. But unsurprisingly, \u003cem>The Bear\u003c/em> gets its best acting work from actors. And detouring into celebrity cameos is tricky at a moment when time with the main cast feels precious and the story is gaining steam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of which: This is not really a season; it is half a season. It ends with a cliffhanger, “To Be Continued.” It doesn’t resolve either the main plot threads or the emotional tangles that have been built over these ten episodes. That’s a choice the people behind the show have made, and it candidly seems like a perilous one for a project that presumably won’t come back for many months. Because of the exceptional acting and writing, they will perhaps get away with the anticlimax of it (so different from the big thunderclaps of the last two seasons ending), but it might have worked better to give \u003cem>some \u003c/em>resolution to \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>All in all, though, this remains a tremendously creative, audacious show that is full of pleasures both expected and unexpected. The fact that it doesn’t repeat its successes as much as it tries to reshape itself each time around is perhaps like Carmy’s ever-changing menu: It can lead to a certain number of misfires, but it’s a way to show and share all that you can do.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All Season 3 episodes of ‘The Bear’ are streaming now via FX and Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13960318\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg\" alt=\"A book cover showing a family gathered around a pool being filmed by TV cameras. \" width=\"810\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-768x1024.jpeg 768w\" sizes=\"auto, (max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulitzer Prize-winning \u003cem>New Yorker\u003c/em> critic Emily Nussbaum first conceived her sweeping chronicle of the rise of reality TV in 2003 — shortly after the debut of \u003cem>The Bachelor \u003c/em>and three years into \u003cem>Survivor\u003c/em>. But back then the reception from fellow writers was as icy as public attitudes towards the genre. “You better write that one fast,” she recalls a friend warning her. “Reality television was a fad … a bubble that would pop before I could get anything on the page.”\u003c/p>\n\u003cp>Twenty years later, Nussbaum’s \u003cem>Cue the Sun!: The Invention of Reality TV\u003c/em> is a near definitive history of the genre that forever changed American entertainment. The book’s 20-year journey to publication is a tiny mirror of its subject’s rise to the center of American culture. As Nussbaum shows, “Critics had written off reality programming as a fad back in the 1940s, when mouthy civilians first shook up the economics of radio; and in the 1970s, during the flareups over \u003cem>An American Family \u003c/em>and \u003cem>The Gong Show\u003c/em>; and then again in the 1990s, when Fox and MTV set out to disrupt the major networks.”\u003c/p>\n\u003cp>[aside postid='arts_13960267']The dismissive pattern continued for decades — and critics were wrong every time. The much maligned reality genre has “always been a trap” for someone in Nussbaum’s profession — as a critic you would either “clutch your pearls,” failing to “see the fun in it” or succumb to the temptation to “treat reality too lightly.”\u003c/p>\n\u003cp>Across 14 chapters, Nussbaum successfully walks a tightrope. Avoiding censure and trivialization, her narrative keenly captures the reality genre “through the voices of the people who built it” — “step by step, experiment by experiment” in riveting, energetic detail. Determined to see it as the makers and audiences did, and to translate the genre’s diversity, appeal and significance to the page, Nussbaum conducted interviews with a staggering 300 people who worked in every conceivable capacity — from network executives to show creators to crafts people and cast members — on some of the most important reality shows.\u003c/p>\n\u003cp>From these interviews, Nussbaum fashions a compelling oral history, transforming the scattered highs, lows, and tipping points of a genre constantly in flux into a cohesive exploration of the invention, evolution and importance of the modern reality show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As juicy and provocative as it is analytical, \u003cem>Cue the Sun!\u003c/em> exposes the seamy underbelly of reality TV where that’s needed but also corrects unduly negative, and unfounded, assumptions. For example, on the motivations of the people who become the casts of these shows, Nussbaum concludes: “For many people, doing this kind of television wasn’t a naïve misstep at all — it was a conscious choice to participate in an extreme sport, one whose risks they embraced.” This insight emerges as a common theme across most of these chapters in the voices of wildly diverse on-screen participants — across programs as disparate as the 1970s \u003cem>An American Family\u003c/em>, \u003cem>Who Wants to Marry a Multimillionaire\u003c/em>, and \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>While many critics have painted reality TV in broad strokes, Nussbaum captures fascinating complexity and nuance. Perhaps the most poignant chapter focuses on PBS’s pioneering precursor to modern reality programming. The tip of the spear in an emerging genre dubbed the “dirty documentary,” in a single season \u003cem>An American Family\u003c/em> exploded the traditional nuclear ideal through California’s prosperous Loud family.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Putting a microscope to five teenage kids and two parents at odds, for seven months, the show delivered a microcosm of America’s rapid cultural shifts as the Louds navigated infidelity, a son’s sexuality, and divorce. While the filmmakers played it straight, according to Nussbaum, the Louds felt stung by the 24/7 cameras and scathing public reaction. It was a startling precursor of what was to come.\u003c/p>\n\u003cp>Decades later, with the possible exception of a \u003cem>Dating Game\u003c/em> contestant who turned out to be a serial killer, perhaps no episode is as jaw-dropping as the story of \u003cem>Survivor\u003c/em>. Nussbaum’s storytelling reaches the height of its powers in a blow by blow of \u003cem>Survivor\u003c/em> season one that will give you the creepy crawlies: fleas under the skin, snakes on the belly, parasites in the intestines. But it’s hard to figure what’s more treacherous, the wildlife or the humans committed to making compelling TV at any cost.\u003c/p>\n\u003cp>Despite the book’s strengths, at crucial times the accounts of insiders prove insufficient; context and a critical counterpoint are needed. But in its commitment to handing the mic to the makers, the book eschews outside perspectives. There are exceptions: With \u003cem>An American Family,\u003c/em> we gain insight into the challenge of being gay man on TV in the ’70s through snippets of contemporaneous media and viewer letters. The book also nods to criticism of \u003cem>Queer Eye for the Straight Guy \u003c/em>from the gay community.\u003c/p>\n\u003cp>But when it comes to the situation with \u003ca href=\"https://www.npr.org/2024/02/20/1232527337/tv-critics-association-bachelor\">race on \u003cem>The Bachelor\u003c/em> franchise\u003c/a>, \u003cem>Cue The Sun!\u003c/em> is noticeably quiet. It acknowledges that creator Mike Fleiss stepped down after an internal investigation into allegations of racial discrimination led to a “racial reckoning.” And Nussbaum spoke to one of the two Black contestants from \u003cem>The Bachelor\u003c/em>‘s first season, LaNease Adams. Following her stint on\u003cem> The Bachelor,\u003c/em> Adams buckled under relentless public scrutiny and racist online attacks, with mental health concerns \u003ca href=\"https://www.womenshealthmag.com/life/a33075184/bachelor-alex-michel-lanease-adams-depression/\">eventually sending her to the hospital\u003c/a>. Still, she blames herself for being “naive about racism” and defends the show’s treatment and handling of race. Adams’ comments are fascinating, but not exactly illuminating.\u003c/p>\n\u003cp>[aside postid='arts_13959550']Nussbaum declines to explore the perspectives of Black critics and viewers. Given that \u003ca href=\"https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race\">\u003cem>The Bachelor’\u003c/em>s racial conflicts were legion\u003c/a>, and Black women are both a vibrant part of the audience and of the critical community, that seems an odd choice. In a complex chapter with plenty of controversy about gender, ethics, and exploitation, maybe there wasn’t room, but it still reads like something is missing.\u003c/p>\n\u003cp>Despite that blind spot, overall \u003cem>Cue the Sun!\u003c/em> is both entertaining and enlightening — full of eye-popping insight and rollicking prose. An enthusiast herself, Nussbaum makes even a reality-show-skeptic understand the appeal. She describes \u003cem>The Bachelor\u003c/em> as “a schmaltzy, sexist carnival that doubled, for viewers, as a swoony stunt, the Evel Knievel canyon leap of matrimony.”\u003c/p>\n\u003cp>And she writes just as vividly about how \u003cem>Queer Eye\u003c/em> led to the reinvention and precipitous rise of the Bravo network as executive Lauren Zalaznick “gentrified the sketchy neighborhood of reality programming, with all those basic bachelorettes and bug-eating contests,” transforming it into a “glimmering Tribeca of the mind.” There are dueling interpretations of how this new Bravo emerged from the invention of \u003cem>Queer Eye. \u003c/em>But the brilliance of the show, as Nussbaum smartly highlights, is that it was — in the words of \u003cem>Queer Eye \u003c/em>Director of Photography Michael Pearlman — “a pleasant change of pace: a reality show that was all about empowerment, rather than humiliation.”\u003c/p>\n\u003cp>Bravo’s successes might be the ultimate symbol of a sunnier story about the genre that upended television. But Nussbaum ends in a darker place, explaining how the genre remade American politics by reinventing Donald Trump on \u003cem>The Apprentice\u003c/em>. Love it or hate it, that titillating and consequential tale is the writer’s mic drop to a virtuoso performance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/bellcv\">@BellCV\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960318\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg\" alt=\"A book cover showing a family gathered around a pool being filmed by TV cameras. \" width=\"810\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-768x1024.jpeg 768w\" sizes=\"auto, (max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulitzer Prize-winning \u003cem>New Yorker\u003c/em> critic Emily Nussbaum first conceived her sweeping chronicle of the rise of reality TV in 2003 — shortly after the debut of \u003cem>The Bachelor \u003c/em>and three years into \u003cem>Survivor\u003c/em>. But back then the reception from fellow writers was as icy as public attitudes towards the genre. “You better write that one fast,” she recalls a friend warning her. “Reality television was a fad … a bubble that would pop before I could get anything on the page.”\u003c/p>\n\u003cp>Twenty years later, Nussbaum’s \u003cem>Cue the Sun!: The Invention of Reality TV\u003c/em> is a near definitive history of the genre that forever changed American entertainment. The book’s 20-year journey to publication is a tiny mirror of its subject’s rise to the center of American culture. As Nussbaum shows, “Critics had written off reality programming as a fad back in the 1940s, when mouthy civilians first shook up the economics of radio; and in the 1970s, during the flareups over \u003cem>An American Family \u003c/em>and \u003cem>The Gong Show\u003c/em>; and then again in the 1990s, when Fox and MTV set out to disrupt the major networks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dismissive pattern continued for decades — and critics were wrong every time. The much maligned reality genre has “always been a trap” for someone in Nussbaum’s profession — as a critic you would either “clutch your pearls,” failing to “see the fun in it” or succumb to the temptation to “treat reality too lightly.”\u003c/p>\n\u003cp>Across 14 chapters, Nussbaum successfully walks a tightrope. Avoiding censure and trivialization, her narrative keenly captures the reality genre “through the voices of the people who built it” — “step by step, experiment by experiment” in riveting, energetic detail. Determined to see it as the makers and audiences did, and to translate the genre’s diversity, appeal and significance to the page, Nussbaum conducted interviews with a staggering 300 people who worked in every conceivable capacity — from network executives to show creators to crafts people and cast members — on some of the most important reality shows.\u003c/p>\n\u003cp>From these interviews, Nussbaum fashions a compelling oral history, transforming the scattered highs, lows, and tipping points of a genre constantly in flux into a cohesive exploration of the invention, evolution and importance of the modern reality show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As juicy and provocative as it is analytical, \u003cem>Cue the Sun!\u003c/em> exposes the seamy underbelly of reality TV where that’s needed but also corrects unduly negative, and unfounded, assumptions. For example, on the motivations of the people who become the casts of these shows, Nussbaum concludes: “For many people, doing this kind of television wasn’t a naïve misstep at all — it was a conscious choice to participate in an extreme sport, one whose risks they embraced.” This insight emerges as a common theme across most of these chapters in the voices of wildly diverse on-screen participants — across programs as disparate as the 1970s \u003cem>An American Family\u003c/em>, \u003cem>Who Wants to Marry a Multimillionaire\u003c/em>, and \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>While many critics have painted reality TV in broad strokes, Nussbaum captures fascinating complexity and nuance. Perhaps the most poignant chapter focuses on PBS’s pioneering precursor to modern reality programming. The tip of the spear in an emerging genre dubbed the “dirty documentary,” in a single season \u003cem>An American Family\u003c/em> exploded the traditional nuclear ideal through California’s prosperous Loud family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Putting a microscope to five teenage kids and two parents at odds, for seven months, the show delivered a microcosm of America’s rapid cultural shifts as the Louds navigated infidelity, a son’s sexuality, and divorce. While the filmmakers played it straight, according to Nussbaum, the Louds felt stung by the 24/7 cameras and scathing public reaction. It was a startling precursor of what was to come.\u003c/p>\n\u003cp>Decades later, with the possible exception of a \u003cem>Dating Game\u003c/em> contestant who turned out to be a serial killer, perhaps no episode is as jaw-dropping as the story of \u003cem>Survivor\u003c/em>. Nussbaum’s storytelling reaches the height of its powers in a blow by blow of \u003cem>Survivor\u003c/em> season one that will give you the creepy crawlies: fleas under the skin, snakes on the belly, parasites in the intestines. But it’s hard to figure what’s more treacherous, the wildlife or the humans committed to making compelling TV at any cost.\u003c/p>\n\u003cp>Despite the book’s strengths, at crucial times the accounts of insiders prove insufficient; context and a critical counterpoint are needed. But in its commitment to handing the mic to the makers, the book eschews outside perspectives. There are exceptions: With \u003cem>An American Family,\u003c/em> we gain insight into the challenge of being gay man on TV in the ’70s through snippets of contemporaneous media and viewer letters. The book also nods to criticism of \u003cem>Queer Eye for the Straight Guy \u003c/em>from the gay community.\u003c/p>\n\u003cp>But when it comes to the situation with \u003ca href=\"https://www.npr.org/2024/02/20/1232527337/tv-critics-association-bachelor\">race on \u003cem>The Bachelor\u003c/em> franchise\u003c/a>, \u003cem>Cue The Sun!\u003c/em> is noticeably quiet. It acknowledges that creator Mike Fleiss stepped down after an internal investigation into allegations of racial discrimination led to a “racial reckoning.” And Nussbaum spoke to one of the two Black contestants from \u003cem>The Bachelor\u003c/em>‘s first season, LaNease Adams. Following her stint on\u003cem> The Bachelor,\u003c/em> Adams buckled under relentless public scrutiny and racist online attacks, with mental health concerns \u003ca href=\"https://www.womenshealthmag.com/life/a33075184/bachelor-alex-michel-lanease-adams-depression/\">eventually sending her to the hospital\u003c/a>. Still, she blames herself for being “naive about racism” and defends the show’s treatment and handling of race. Adams’ comments are fascinating, but not exactly illuminating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nussbaum declines to explore the perspectives of Black critics and viewers. Given that \u003ca href=\"https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race\">\u003cem>The Bachelor’\u003c/em>s racial conflicts were legion\u003c/a>, and Black women are both a vibrant part of the audience and of the critical community, that seems an odd choice. In a complex chapter with plenty of controversy about gender, ethics, and exploitation, maybe there wasn’t room, but it still reads like something is missing.\u003c/p>\n\u003cp>Despite that blind spot, overall \u003cem>Cue the Sun!\u003c/em> is both entertaining and enlightening — full of eye-popping insight and rollicking prose. An enthusiast herself, Nussbaum makes even a reality-show-skeptic understand the appeal. She describes \u003cem>The Bachelor\u003c/em> as “a schmaltzy, sexist carnival that doubled, for viewers, as a swoony stunt, the Evel Knievel canyon leap of matrimony.”\u003c/p>\n\u003cp>And she writes just as vividly about how \u003cem>Queer Eye\u003c/em> led to the reinvention and precipitous rise of the Bravo network as executive Lauren Zalaznick “gentrified the sketchy neighborhood of reality programming, with all those basic bachelorettes and bug-eating contests,” transforming it into a “glimmering Tribeca of the mind.” There are dueling interpretations of how this new Bravo emerged from the invention of \u003cem>Queer Eye. \u003c/em>But the brilliance of the show, as Nussbaum smartly highlights, is that it was — in the words of \u003cem>Queer Eye \u003c/em>Director of Photography Michael Pearlman — “a pleasant change of pace: a reality show that was all about empowerment, rather than humiliation.”\u003c/p>\n\u003cp>Bravo’s successes might be the ultimate symbol of a sunnier story about the genre that upended television. But Nussbaum ends in a darker place, explaining how the genre remade American politics by reinventing Donald Trump on \u003cem>The Apprentice\u003c/em>. Love it or hate it, that titillating and consequential tale is the writer’s mic drop to a virtuoso performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
