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"content": "\u003cp>There aren’t many hoopers in NBA folklore like Juan Toscano-Anderson. The former Golden State Warriors champion and proud East Oakland representative is one of the only Afro Mexican American players to ever suit up in the Association’s history — and the sole Mexican citizen to hoist an NBA title.\u003c/p>\n\u003cp>An alumnus of Castro Valley High School, Toscano-Anderson (endearingly known as JTA) has long been a beloved figure in the Bay Area basketball community. But his popularity in Mexico is something else entirely: He’s one of the country’s most prized hoopers, with a celestial status that radiates superstardom below the border.\u003c/p>\n\u003cp>His cult following is evident in the newest season of \u003ca href=\"https://gleague.nba.com/videos/the-break?video=m-c3GfI9xpQ\">\u003ci>The Break,\u003c/i>\u003c/a> a docuseries that follows three players in the NBA’s G League as they navigate the complexities of professional basketball at different points in their careers. Toscano-Anderson’s return to his family’s homeland — his mother’s side of the family immigrated to the U.S. from Michoacán in the 1960s — comprises a major storyline in the series, which premiered on YouTube at the start of this past basketball season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qW5shf31Sb8\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Toscano-Anderson first moved to Mexico City to pursue hoops after he went undrafted out of Marquette University in 2015. At the time, Mexico provided his only shot at eventually reaching his NBA dream. From there, he earned his way onto Mexico’s national team, and soon after became the Liga Nacional de Baloncesto Profesional’s Most Valuable Player and a two-time champion. His hustle gained him a roster spot with the Golden State Warriors’ G League team in 2019, where he became a fan favorite.\u003c/p>\n\u003cp>Nearly a decade later, after contributions with Golden State, the Los Angeles Lakers and the Utah Jazz, Toscano-Anderson landed back in Mexico City as a veteran captain of the NBA G League’s Mexico City Capitanes. The team, which is the only Mexican-owned franchise to compete in any U.S.-based league, signed Toscano-Anderson at the start of the 2023-24 season, generating national fanfare in Mexico.\u003c/p>\n\u003cfigure id=\"attachment_13958425\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958425 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg\" alt=\"a basketball player points to the crowd during a basketball game\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Juan Toscano-Anderson’s return to Mexico City was met with a national excitement. \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being able to embrace and indulge in my culture again, and being a representative of Mexican basketball and helping the sport grow [is] a highlight in itself,” Toscano-Anderson told me in a Zoom interview earlier this year. “I want to be that bridge, that pipeline to give Mexican Americans [a chance] when they can’t go straight to the NBA. If I didn’t have a Mexican passport, then I don’t know if I’d even be in the NBA. Having that gave me an opportunity to continue to play basketball.”\u003c/p>\n\u003cp>For an entire season, Toscano-Anderson grappled with an emotional homecoming in Mexico City, amid the birth of his son and the general uncertainty of playing in the NBA’s minor league system. It was a period filled with ups and downs, including Toscano-Anderson’s brief return to the NBA with the Sacramento Kings. (He concluded an injury-stunted season with the Capitanes.)\u003c/p>\n\u003cp>Eduardo Villalpando, a Mexican YouTuber, filmed \u003ca href=\"https://www.youtube.com/watch?v=sjrVYNQM9X0\">Toscano-Anderson’s debut game at Arena CDMX\u003c/a> in Azcapotzalco. “He’s like a superhero; he’s more famous than [president] Andrés Manuel López Obrador,” Villalpando said in his recording.\u003c/p>\n\u003cfigure id=\"attachment_13958429\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958429 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg\" alt=\"a film director and photographer pose on a basketball court in between filming\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Sharp (left) and Ryan Pham (right) directed and filmed ‘The Break.’ \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our Zoom call, Toscano-Anderson explained how he felt during that game: “I’m going to represent my family, represent my country, and represent my son. I want to serve as an ambassador for Mexico and Mexican basketball. I want to give other people who look like me — Afro Latinos, Mexican Americans — I want to give them opportunities similar to mine.”\u003c/p>\n\u003cp>For \u003cem>The Break’\u003c/em>s director \u003ca href=\"https://www.instagram.com/tsharp94/\">Taylor Sharp\u003c/a> — a North Carolina-raised, Brooklyn-based filmmaker and avid basketball fan — Toscano-Anderson’s story is unlike any other player he has ever documented.\u003c/p>\n\u003cp>“I was surprised to see so many Toscano jerseys in the crowd, 16,000 fans chanting his name [on opening night in Mexico City],” Sharp said. “He’s on a very short list of successful players [with Mexican heritage], and watching him play on ESPN in Mexico, that was a rare moment [for Mexican fans] to have one of their superstars.”\u003c/p>\n\u003cp>Sharp chose to focus closely on Toscano-Anderson’s connection to the country across multiple episodes, including “\u003ca href=\"https://www.youtube.com/watch?v=qW5shf31Sb8\">El Capitán\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=lSrsfN6XKjo\">The Return\u003c/a>.” Later in the series, Toscano-Anderson’s Northern California visit is filmed, as well as his final moments of the season as he interacts with \u003ca href=\"https://www.youtube.com/watch?v=Rv5lYgftXEk\">jubilant Mexican fans\u003c/a> who came out to meet him during a road game in New Jersey.\u003c/p>\n\u003cp>Whatever follows for JTA remains to be seen; he hasn’t yet announced his next steps or whether he’ll remain in Mexico City. But it’s evident that the baller will continue uplifting Mexico (and the Bay Area) as part of his storied legacy. For fans who don’t often see themselves represented in the world of professional basketball, seeing Toscano-Anderson’s ascension is more important than any final score.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>All six episodes of ‘The Break’ can be streamed on the \u003ca href=\"https://www.youtube.com/@nbagleague\">NBA G League’s official YouTube channel\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Toscano-Anderson first moved to Mexico City to pursue hoops after he went undrafted out of Marquette University in 2015. At the time, Mexico provided his only shot at eventually reaching his NBA dream. From there, he earned his way onto Mexico’s national team, and soon after became the Liga Nacional de Baloncesto Profesional’s Most Valuable Player and a two-time champion. His hustle gained him a roster spot with the Golden State Warriors’ G League team in 2019, where he became a fan favorite.\u003c/p>\n\u003cp>Nearly a decade later, after contributions with Golden State, the Los Angeles Lakers and the Utah Jazz, Toscano-Anderson landed back in Mexico City as a veteran captain of the NBA G League’s Mexico City Capitanes. The team, which is the only Mexican-owned franchise to compete in any U.S.-based league, signed Toscano-Anderson at the start of the 2023-24 season, generating national fanfare in Mexico.\u003c/p>\n\u003cfigure id=\"attachment_13958425\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958425 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg\" alt=\"a basketball player points to the crowd during a basketball game\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/game-4-dec-23-juan-19-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Juan Toscano-Anderson’s return to Mexico City was met with a national excitement. \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being able to embrace and indulge in my culture again, and being a representative of Mexican basketball and helping the sport grow [is] a highlight in itself,” Toscano-Anderson told me in a Zoom interview earlier this year. “I want to be that bridge, that pipeline to give Mexican Americans [a chance] when they can’t go straight to the NBA. If I didn’t have a Mexican passport, then I don’t know if I’d even be in the NBA. Having that gave me an opportunity to continue to play basketball.”\u003c/p>\n\u003cp>For an entire season, Toscano-Anderson grappled with an emotional homecoming in Mexico City, amid the birth of his son and the general uncertainty of playing in the NBA’s minor league system. It was a period filled with ups and downs, including Toscano-Anderson’s brief return to the NBA with the Sacramento Kings. (He concluded an injury-stunted season with the Capitanes.)\u003c/p>\n\u003cp>Eduardo Villalpando, a Mexican YouTuber, filmed \u003ca href=\"https://www.youtube.com/watch?v=sjrVYNQM9X0\">Toscano-Anderson’s debut game at Arena CDMX\u003c/a> in Azcapotzalco. “He’s like a superhero; he’s more famous than [president] Andrés Manuel López Obrador,” Villalpando said in his recording.\u003c/p>\n\u003cfigure id=\"attachment_13958429\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958429 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg\" alt=\"a film director and photographer pose on a basketball court in between filming\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bts-game-1-22-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Sharp (left) and Ryan Pham (right) directed and filmed ‘The Break.’ \u003ccite>(Trecy Wendy Wuattier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During our Zoom call, Toscano-Anderson explained how he felt during that game: “I’m going to represent my family, represent my country, and represent my son. I want to serve as an ambassador for Mexico and Mexican basketball. I want to give other people who look like me — Afro Latinos, Mexican Americans — I want to give them opportunities similar to mine.”\u003c/p>\n\u003cp>For \u003cem>The Break’\u003c/em>s director \u003ca href=\"https://www.instagram.com/tsharp94/\">Taylor Sharp\u003c/a> — a North Carolina-raised, Brooklyn-based filmmaker and avid basketball fan — Toscano-Anderson’s story is unlike any other player he has ever documented.\u003c/p>\n\u003cp>“I was surprised to see so many Toscano jerseys in the crowd, 16,000 fans chanting his name [on opening night in Mexico City],” Sharp said. “He’s on a very short list of successful players [with Mexican heritage], and watching him play on ESPN in Mexico, that was a rare moment [for Mexican fans] to have one of their superstars.”\u003c/p>\n\u003cp>Sharp chose to focus closely on Toscano-Anderson’s connection to the country across multiple episodes, including “\u003ca href=\"https://www.youtube.com/watch?v=qW5shf31Sb8\">El Capitán\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=lSrsfN6XKjo\">The Return\u003c/a>.” Later in the series, Toscano-Anderson’s Northern California visit is filmed, as well as his final moments of the season as he interacts with \u003ca href=\"https://www.youtube.com/watch?v=Rv5lYgftXEk\">jubilant Mexican fans\u003c/a> who came out to meet him during a road game in New Jersey.\u003c/p>\n\u003cp>Whatever follows for JTA remains to be seen; he hasn’t yet announced his next steps or whether he’ll remain in Mexico City. But it’s evident that the baller will continue uplifting Mexico (and the Bay Area) as part of his storied legacy. For fans who don’t often see themselves represented in the world of professional basketball, seeing Toscano-Anderson’s ascension is more important than any final score.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>All six episodes of ‘The Break’ can be streamed on the \u003ca href=\"https://www.youtube.com/@nbagleague\">NBA G League’s official YouTube channel\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-tv-to-watch-stream-this-summer-2024-hulu-apple-fx-netflix",
"title": "What to Watch This Summer: 18 TV Shows to Look Forward To",
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"headTitle": "What to Watch This Summer: 18 TV Shows to Look Forward To | KQED",
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"content": "\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=WPIcQNMQchQ\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Hy1q_YIAL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yUW-bQ3buY\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNSY3lMioHs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzFXDvC-EwM\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YN2H_sKcmGw\u003c/p>\n\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-1V_dRubUg\u003c/p>\n\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-QqOkpu9_tg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwFty8yi1cU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUlP-BkJUFs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEkSnH0g2g\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6xouFXMOvaU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKxQEIOu_Yg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=s0LVj0yo308\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Shows you should check out in June, July and August — including the return of ‘The Bear’ and ‘House of the Dragon.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\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/WPIcQNMQchQ'\n title='//www.youtube.com/embed/WPIcQNMQchQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0Hy1q_YIAL4'\n title='//www.youtube.com/embed/0Hy1q_YIAL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_yUW-bQ3buY'\n title='//www.youtube.com/embed/_yUW-bQ3buY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZNSY3lMioHs'\n title='//www.youtube.com/embed/ZNSY3lMioHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EzFXDvC-EwM'\n title='//www.youtube.com/embed/EzFXDvC-EwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YN2H_sKcmGw'\n title='//www.youtube.com/embed/YN2H_sKcmGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P-1V_dRubUg'\n title='//www.youtube.com/embed/P-1V_dRubUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-QqOkpu9_tg'\n title='//www.youtube.com/embed/-QqOkpu9_tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PwFty8yi1cU'\n title='//www.youtube.com/embed/PwFty8yi1cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rUlP-BkJUFs'\n title='//www.youtube.com/embed/rUlP-BkJUFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OgEkSnH0g2g'\n title='//www.youtube.com/embed/OgEkSnH0g2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6xouFXMOvaU'\n title='//www.youtube.com/embed/6xouFXMOvaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IKxQEIOu_Yg'\n title='//www.youtube.com/embed/IKxQEIOu_Yg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\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/s0LVj0yo308'\n title='//www.youtube.com/embed/s0LVj0yo308'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Idris Elba Helps Uncover the WWII Soldiers of Color Who Never Got Their Due",
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"content": "\u003cp>One of Idris Elba’s grandfathers fought in World War II, but he doesn’t know what he endured. No pictures or stories survive. “That part of my family’s history has been erased somewhat,” says Elba.\u003c/p>\n\u003cp>That helped fuel the actor’s push to narrate and executive produce the four-part National Geographic docuseries \u003cem>Erased: WW2’s Heroes of Color\u003c/em>, which premieres days ahead of the 80th anniversary of D-Day, when the Allies landed on the coast of France, on June 6. Episodes will also later be available on Disney+ and Hulu.\u003c/p>\n\u003cp>[aside postid='arts_13957545']More than 8 million people of color served with the Allies, and the series digs deep to focus on how some fared at D-Day, Dunkirk, Pearl Harbor and the Battle of the Bulge.\u003c/p>\n\u003cp>It tells the story of the 320th Barrage Balloon Battalion, the only all-Black combat unit to fight on the D-Day beaches, and Force K6, a little-known Indian regiment of mule handlers from the British army trying to evacuate at Dunkirk.\u003c/p>\n\u003cp>The series uses archival footage, descendant interviews, soldier journals and actor portrayals — a mix that Elba says he found visceral and moving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It really did actually impact me just in the narration booth, watching the imagery, looking at the faces, wondering about my own personal connect. Could my grandfather be one of the people in one of the pieces? That was what I thought about. So, it did definitely resonate with me.\u003c/p>\n\u003cp>The series also highlights stories like that of Doris Miller, a mess attendant aboard the USS West Virginia who after the Japanese attack at Pearl Harbor raced to an unattended anti-aircraft gun and fired at the planes until forced to abandon ship.\u003c/p>\n\u003cp>He had never been trained to use the gun because Black sailors serving in the segregated steward’s branch of the Navy were not given the gunnery training received by white sailors. Miller’s bravery earned him the Navy Cross.\u003c/p>\n\u003cp>[aside postid='arts_13929913']“It just feels like a privilege and an honor to be able to shed some light on their stories,” says director Shianne Brown, who helmed the D-Day episode.\u003c/p>\n\u003cp>Her episode highlighted Waverly Woodson, Jr., a medic who was wounded by shrapnel during the landing but nevertheless spent the next 30 hours treating the wounded and the dying on Omaha Beach. He would note: “There’s no such thing as a color barrier in action.”\u003c/p>\n\u003cp>Brown says that observation proved so powerful. “If your leg has just been blown off, you need a medic to help you. At that moment, you’re not going to say to Waverly, ‘No, I don’t want you to treat me.’”\u003c/p>\n\u003cp>Woodson is being posthumously awarded the Distinguished Service Cross. The announcement was made Monday by Sen. Chris Van Hollen of Maryland. Woodson died in 2005.\u003c/p>\n\u003cp>The series points out that many soldiers of color who fought the Nazis in Europe went home — the Indians back to British colonization and Black Americans to bitter racism — and began agitating for change because of what they’d witnessed and earned. Civil rights icon Medgar Evers, after all, was at D-Day.\u003c/p>\n\u003cp>“A lot of these men and women never felt like they were human before going to Europe and then being treated like a normal human being by the white population,” says Brown. “I can’t even imagine how that would have felt for them. You’ve been fighting against Hitler and the Nazis and against fascism and hate, and you go home and you experience racial terror.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=InQMoBvzQeY\u003c/p>\n\u003cp>The filmmakers found very little footage of non-white soldiers in the archives and so were moved when they finally came across images of a Black unit marching in central England before D-Day or Black soldiers cheering the fall of the Nazis. “It was just very odd to see a Black man in Nazi Germany,” says Elba.\u003c/p>\n\u003cp>Elba urged the directors and editors to try to put the audience into the action, like the films \u003cem>Saving Private Ryan\u003c/em> or \u003cem>Dunkirk\u003c/em>. That meant filming recreations of bombings in villages in France, wading into the ocean with heavy gear and soldiers enduring beach strafing.\u003c/p>\n\u003cp>[aside postid='arts_13931436']“I was really encouraging of the filmmakers to really go for it,” he says. “Giving you a little glimpse of, from a fictional perspective, what it might have looked like and how heroic these soldiers were.”\u003c/p>\n\u003cp>At the same time, the filmmakers wanted to show how horrible and frightening combat can be, the randomness of casualties and the agonizing wait before deployment.\u003c/p>\n\u003cp>“We don’t want to glorify what’s going on, but we actually wanted to paint the heroism in a way that was relatable to the way we’ve seen films of this nature,” Elba says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Erased: WW2’s Heroes of Color is streaming now on National Geographic, Hulu and Disney+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It just feels like a privilege and an honor to be able to shed some light on their stories,” says director Shianne Brown, who helmed the D-Day episode.\u003c/p>\n\u003cp>Her episode highlighted Waverly Woodson, Jr., a medic who was wounded by shrapnel during the landing but nevertheless spent the next 30 hours treating the wounded and the dying on Omaha Beach. He would note: “There’s no such thing as a color barrier in action.”\u003c/p>\n\u003cp>Brown says that observation proved so powerful. “If your leg has just been blown off, you need a medic to help you. At that moment, you’re not going to say to Waverly, ‘No, I don’t want you to treat me.’”\u003c/p>\n\u003cp>Woodson is being posthumously awarded the Distinguished Service Cross. The announcement was made Monday by Sen. Chris Van Hollen of Maryland. Woodson died in 2005.\u003c/p>\n\u003cp>The series points out that many soldiers of color who fought the Nazis in Europe went home — the Indians back to British colonization and Black Americans to bitter racism — and began agitating for change because of what they’d witnessed and earned. Civil rights icon Medgar Evers, after all, was at D-Day.\u003c/p>\n\u003cp>“A lot of these men and women never felt like they were human before going to Europe and then being treated like a normal human being by the white population,” says Brown. “I can’t even imagine how that would have felt for them. You’ve been fighting against Hitler and the Nazis and against fascism and hate, and you go home and you experience racial terror.”\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/InQMoBvzQeY'\n title='//www.youtube.com/embed/InQMoBvzQeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The filmmakers found very little footage of non-white soldiers in the archives and so were moved when they finally came across images of a Black unit marching in central England before D-Day or Black soldiers cheering the fall of the Nazis. “It was just very odd to see a Black man in Nazi Germany,” says Elba.\u003c/p>\n\u003cp>Elba urged the directors and editors to try to put the audience into the action, like the films \u003cem>Saving Private Ryan\u003c/em> or \u003cem>Dunkirk\u003c/em>. That meant filming recreations of bombings in villages in France, wading into the ocean with heavy gear and soldiers enduring beach strafing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was really encouraging of the filmmakers to really go for it,” he says. “Giving you a little glimpse of, from a fictional perspective, what it might have looked like and how heroic these soldiers were.”\u003c/p>\n\u003cp>At the same time, the filmmakers wanted to show how horrible and frightening combat can be, the randomness of casualties and the agonizing wait before deployment.\u003c/p>\n\u003cp>“We don’t want to glorify what’s going on, but we actually wanted to paint the heroism in a way that was relatable to the way we’ve seen films of this nature,” Elba says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Erased: WW2’s Heroes of Color is streaming now on National Geographic, Hulu and Disney+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week Season 3 of \u003cem>Abbott Elementary \u003c/em>came to an end, and the one thing every single viewer had predicted would happen since the premiere of the pilot episode finally did happen: Nerdy, awkward school teachers Janine (Quinta Brunson) and Gregory (Tyler James Williams) got together. For real, for real. To get there, it only took an untold number of gawky flirtations resulting in direct-to-camera looks of embarrassment, a drunken one-off kiss (in Season 2, during a work conference), and several spectacularly failed attempts at dating other people while denying or downplaying their romantic interests in one another.\u003c/p>\n\u003cp>Surely plenty of fans have found joy in the resolution of this long-delayed one true pairing; if so, I’m genuinely happy for you. But call me the “will they-won’t they?” grinch — I’m mostly just relieved the convoluted storyline can finally (hopefully!) be put to rest. The writers’ insistence on making them the \u003ca href=\"https://theoffice.fandom.com/wiki/Jim-Pam_Relationship\">Jim-and-Pam\u003c/a> of \u003cem>Abbott \u003c/em>has long been the least interesting element of this smart and consistently funny series, and as utterly charming as Brunson and Williams are, even they couldn’t keep the perpetually unresolved sexual tension between their characters from grating by Season 3. (The episode where Jacob and Gregory attempt to go on a double date and Gregory gets distracted by seeing Janine out with school district rep Manny might’ve been less tedious had it not been such a similar iteration of several earlier plotlines.)\u003c/p>\n\u003cp>[aside postid='arts_13958131']Of course, this is TV Writing 101, one of the oldest tropes in the playbook. Some shows have found clever ways to mess around with it, as with the deeply intimate but platonic work relationship between \u003cem>30 Rock\u003c/em>’s Liz Lemon and Jack Donaghy — anyone actively rooting for them to be A Thing plucked that desire from thin air, because there was \u003cem>zero\u003c/em> amorous chemistry popping off between those two. (The writers poked fun at this expectation all the time, as when the pair mistakenly married in Season 5.) Before being unceremoniously canceled, \u003cem>Happy Endings \u003c/em>began with Alex and Dave’s broken engagement, which provided plenty of “will-they-won’t-they-get-back-together” fodder a la those classic Hollywood remarriage comedies like \u003cem>The Awful Truth.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Living Single \u003c/em>actually managed to juggle two different versions of this trope in satisfying ways: the flirtatiously antagonistic Beatrice-and-Benedick vibes shared between corporate climbers Maxine and Kyle, and the goofy puppy love of TV’s original Awkward Black Couple, handyman Overton and office manager Synclaire. In both cases, the show confronted the simmering tensions early; Max and Kyle sleep together in Season 2, making their ongoing love-hate dynamic that much funnier throughout the rest of the series, and Overton and Synclaire make it official in Season 1, allowing them to explore other silly hurdles and milestones throughout their courtship.\u003c/p>\n\u003cp>It’s easy enough to imagine a version of \u003cem>Abbott \u003c/em>that took a page out of \u003cem>30 Rock\u003c/em>, and gave us a fruitful platonic friendship with Janine and Gregory. But watching a lot of TV primes us “will-they” grinches for disappointment, because it seems we’re vastly outnumbered, or at least not as vocal in our annoyance as the champions are about their excitement. \u003cem>Law & Order: SVU \u003c/em>fans have been rooting for Benson and Stabler to get together for 25 years, and recently \u003ca href=\"https://ew.com/mariska-hargitay-reveals-benson-stabler-svu-kiss-changed-last-minute-8641981\">almost got their wish\u003c/a>. And I’m already exhausted by the corner of social media that insists on ’shipping not only Carmy and Sydney on \u003cem>The Bear\u003c/em>, but also \u003ca href=\"https://www.nytimes.com/2024/05/22/style/ayo-edebiri-jeremy-allen-white-dating.html\">Jeremy Allen White and Ayo Edebiri\u003c/a>, the real-life actors who portray them.\u003c/p>\n\u003cfigure id=\"attachment_13959028\" class=\"wp-caption aligncenter\" style=\"max-width: 1858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png\" alt=\"A white man and Black woman work side-by-side in a home kitchen.\" width=\"1858\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png 1858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1536x961.png 1536w\" sizes=\"(max-width: 1858px) 100vw, 1858px\">\u003cfigcaption class=\"wp-caption-text\">What’s cooking between Sydney (Ayo Ebebiri) and Carmy (Jeremy Allen White) in ‘The Bear?’ Dinner. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Janine and Gregory \u003cem>must \u003c/em>be more than just friends, \u003cem>Abbott \u003c/em>has the opportunity to inject the next season with some inspiring coupledom obstacles. They’re both richly drawn characters with distinct personalities and flaws, finding their way within the challenging and chaotic public-school ecosystem. It’s been delightful watching her learn how to more efficiently channel her do-gooder energy and him loosen up and accept that a job as principal is not in the cards just yet. Now that they’re both a little more confident in themselves, here’s hoping they follow in the footsteps of their Awkward Black Couple predecessors Overton and Synclaire, and the show opens them up to less hackneyed storylines together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week Season 3 of \u003cem>Abbott Elementary \u003c/em>came to an end, and the one thing every single viewer had predicted would happen since the premiere of the pilot episode finally did happen: Nerdy, awkward school teachers Janine (Quinta Brunson) and Gregory (Tyler James Williams) got together. For real, for real. To get there, it only took an untold number of gawky flirtations resulting in direct-to-camera looks of embarrassment, a drunken one-off kiss (in Season 2, during a work conference), and several spectacularly failed attempts at dating other people while denying or downplaying their romantic interests in one another.\u003c/p>\n\u003cp>Surely plenty of fans have found joy in the resolution of this long-delayed one true pairing; if so, I’m genuinely happy for you. But call me the “will they-won’t they?” grinch — I’m mostly just relieved the convoluted storyline can finally (hopefully!) be put to rest. The writers’ insistence on making them the \u003ca href=\"https://theoffice.fandom.com/wiki/Jim-Pam_Relationship\">Jim-and-Pam\u003c/a> of \u003cem>Abbott \u003c/em>has long been the least interesting element of this smart and consistently funny series, and as utterly charming as Brunson and Williams are, even they couldn’t keep the perpetually unresolved sexual tension between their characters from grating by Season 3. (The episode where Jacob and Gregory attempt to go on a double date and Gregory gets distracted by seeing Janine out with school district rep Manny might’ve been less tedious had it not been such a similar iteration of several earlier plotlines.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, this is TV Writing 101, one of the oldest tropes in the playbook. Some shows have found clever ways to mess around with it, as with the deeply intimate but platonic work relationship between \u003cem>30 Rock\u003c/em>’s Liz Lemon and Jack Donaghy — anyone actively rooting for them to be A Thing plucked that desire from thin air, because there was \u003cem>zero\u003c/em> amorous chemistry popping off between those two. (The writers poked fun at this expectation all the time, as when the pair mistakenly married in Season 5.) Before being unceremoniously canceled, \u003cem>Happy Endings \u003c/em>began with Alex and Dave’s broken engagement, which provided plenty of “will-they-won’t-they-get-back-together” fodder a la those classic Hollywood remarriage comedies like \u003cem>The Awful Truth.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Living Single \u003c/em>actually managed to juggle two different versions of this trope in satisfying ways: the flirtatiously antagonistic Beatrice-and-Benedick vibes shared between corporate climbers Maxine and Kyle, and the goofy puppy love of TV’s original Awkward Black Couple, handyman Overton and office manager Synclaire. In both cases, the show confronted the simmering tensions early; Max and Kyle sleep together in Season 2, making their ongoing love-hate dynamic that much funnier throughout the rest of the series, and Overton and Synclaire make it official in Season 1, allowing them to explore other silly hurdles and milestones throughout their courtship.\u003c/p>\n\u003cp>It’s easy enough to imagine a version of \u003cem>Abbott \u003c/em>that took a page out of \u003cem>30 Rock\u003c/em>, and gave us a fruitful platonic friendship with Janine and Gregory. But watching a lot of TV primes us “will-they” grinches for disappointment, because it seems we’re vastly outnumbered, or at least not as vocal in our annoyance as the champions are about their excitement. \u003cem>Law & Order: SVU \u003c/em>fans have been rooting for Benson and Stabler to get together for 25 years, and recently \u003ca href=\"https://ew.com/mariska-hargitay-reveals-benson-stabler-svu-kiss-changed-last-minute-8641981\">almost got their wish\u003c/a>. And I’m already exhausted by the corner of social media that insists on ’shipping not only Carmy and Sydney on \u003cem>The Bear\u003c/em>, but also \u003ca href=\"https://www.nytimes.com/2024/05/22/style/ayo-edebiri-jeremy-allen-white-dating.html\">Jeremy Allen White and Ayo Edebiri\u003c/a>, the real-life actors who portray them.\u003c/p>\n\u003cfigure id=\"attachment_13959028\" class=\"wp-caption aligncenter\" style=\"max-width: 1858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png\" alt=\"A white man and Black woman work side-by-side in a home kitchen.\" width=\"1858\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png 1858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1536x961.png 1536w\" sizes=\"(max-width: 1858px) 100vw, 1858px\">\u003cfigcaption class=\"wp-caption-text\">What’s cooking between Sydney (Ayo Ebebiri) and Carmy (Jeremy Allen White) in ‘The Bear?’ Dinner. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Janine and Gregory \u003cem>must \u003c/em>be more than just friends, \u003cem>Abbott \u003c/em>has the opportunity to inject the next season with some inspiring coupledom obstacles. They’re both richly drawn characters with distinct personalities and flaws, finding their way within the challenging and chaotic public-school ecosystem. It’s been delightful watching her learn how to more efficiently channel her do-gooder energy and him loosen up and accept that a job as principal is not in the cards just yet. Now that they’re both a little more confident in themselves, here’s hoping they follow in the footsteps of their Awkward Black Couple predecessors Overton and Synclaire, and the show opens them up to less hackneyed storylines together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are moments when the spark of creation suddenly ignites and history stops. Like when the Wright brothers got a plane to fly. Or when Oreo added double filling. Maybe just as resonant was when Jim Henson cut up his mother’s green coat into odd shapes and added ping-pong balls for eyes.\u003c/p>\n\u003cp>At that moment, he birthed Kermit the Frog, who would go on to enchant generations. Kermit’s humble beginnings are part of the engrossing and enlightening documentary \u003cem>Jim Henson Idea Man\u003c/em> and it’s apt to start with the sweetly outgoing Kermit, who is in many ways Henson’s alter ego.\u003c/p>\n\u003cp>[aside postid='arts_13958728']The Ron Howard-directed Disney+ movie is a kinetic mix of show clips, interviews, bloopers, behind-the-scenes workplace videos, home movies and artist sketches — as animated as Henson’s Muppets, who educated millions on \u003cem>Sesame Street\u003c/em> and entertained even more on \u003cem>The Muppet Show\u003c/em>.\u003c/p>\n\u003cp>Viewers are walked chronologically through Henson’s early life in rural Mississippi, his teaming up with his wife, Jane, on early late-night TV appearances, his often oddball sensibility, his self-doubt, embrace of educational TV, his marriage crumbling, the red-hot height of fame and then the fall with \u003cem>Labyrinth\u003c/em>. It’s a definitive as you can get. We even learn why he chose to grow a beard: acne scars.\u003c/p>\n\u003cp>It’s also a portrait of a driven, brilliant creative man who wanted to be taken seriously as an artist and had lifelong ambivalent feelings about becoming America’s favorite preschool entertainer. Writer Mark Monroe makes it seem as if he often felt straightjacketed, like an arm stuck in a puppet’s felt body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watchers will walk away with a deeper understanding of a man who had such an outsized presence in their childhoods. Once you realize that Henson was, in his heart of hearts, really a experimental filmmaker, you better understand the whacky, psychedelic videos on \u003cem>Sesame Street\u003c/em> or why The Great Gonzo eats a rubber car tire to “Flight of the Bumblebee.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iyGFV6VIxkI\u003c/p>\n\u003cp>The voices Howard has wrangled are fantastic, from Frank Oz (the Burt to Henson’s Ernie), puppeteer Fran Brill, puppet builder/costume designer Bonnie Erickson and actors Jennifer Connelly and Rita Moreno. Henson’s own short diary entries — “attend seminar in Cambridge re: Children’s TV workshop” — are also put to good use, as is footage from his funeral, a joyous affair.\u003c/p>\n\u003cp>One weird quibble is the decision by Howard — who apparently met Henson once, briefly — to put his interview subjects in a sterile, grey room with brick walls. Why keep going back there to celebrate a figure who opposed formality?\u003c/p>\n\u003cp>Frank Oz, the voice of Miss Piggy and Ernie who was Henson’s puppeteering partner in crime for decades, is wonderfully honest about his yin-and-yang relationship with Henson — “it was both a joy and a grind” — as are Henson’s children about their father, who died in 1990.\u003c/p>\n\u003cp>[aside postid='arts_13958776']“There’s an honesty and an integrity to what he was creating. He was creating it because he needed to create it,” one says. Another concludes: “He showed that creativity, artistry, metaphor can be used as a great power of good.”\u003c/p>\n\u003cp>There are fascinating moments — like when we learn that Kermit wasn’t originally a frog at all — to ones more sublime, like how Miss Piggy made her dramatic entrance as a star in her own right. (A clip of her flirting with Morley Safer is priceless.) Viewers may shake their head when learning that all the networks initially passed on \u003cem>The Muppet Show\u003c/em> and it had to be made in England.\u003c/p>\n\u003cp>It’s a documentary, ultimately, about creativity and a singular mind, one who dreamed up a gaggle of friends for life: Big Bird, Cookie Monster, the Count and, of course, Kermit, stitched from an old coat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jim Henson Idea Man’ premieres on Disney+ on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are moments when the spark of creation suddenly ignites and history stops. Like when the Wright brothers got a plane to fly. Or when Oreo added double filling. Maybe just as resonant was when Jim Henson cut up his mother’s green coat into odd shapes and added ping-pong balls for eyes.\u003c/p>\n\u003cp>At that moment, he birthed Kermit the Frog, who would go on to enchant generations. Kermit’s humble beginnings are part of the engrossing and enlightening documentary \u003cem>Jim Henson Idea Man\u003c/em> and it’s apt to start with the sweetly outgoing Kermit, who is in many ways Henson’s alter ego.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Ron Howard-directed Disney+ movie is a kinetic mix of show clips, interviews, bloopers, behind-the-scenes workplace videos, home movies and artist sketches — as animated as Henson’s Muppets, who educated millions on \u003cem>Sesame Street\u003c/em> and entertained even more on \u003cem>The Muppet Show\u003c/em>.\u003c/p>\n\u003cp>Viewers are walked chronologically through Henson’s early life in rural Mississippi, his teaming up with his wife, Jane, on early late-night TV appearances, his often oddball sensibility, his self-doubt, embrace of educational TV, his marriage crumbling, the red-hot height of fame and then the fall with \u003cem>Labyrinth\u003c/em>. It’s a definitive as you can get. We even learn why he chose to grow a beard: acne scars.\u003c/p>\n\u003cp>It’s also a portrait of a driven, brilliant creative man who wanted to be taken seriously as an artist and had lifelong ambivalent feelings about becoming America’s favorite preschool entertainer. Writer Mark Monroe makes it seem as if he often felt straightjacketed, like an arm stuck in a puppet’s felt body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watchers will walk away with a deeper understanding of a man who had such an outsized presence in their childhoods. Once you realize that Henson was, in his heart of hearts, really a experimental filmmaker, you better understand the whacky, psychedelic videos on \u003cem>Sesame Street\u003c/em> or why The Great Gonzo eats a rubber car tire to “Flight of the Bumblebee.”\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/iyGFV6VIxkI'\n title='//www.youtube.com/embed/iyGFV6VIxkI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The voices Howard has wrangled are fantastic, from Frank Oz (the Burt to Henson’s Ernie), puppeteer Fran Brill, puppet builder/costume designer Bonnie Erickson and actors Jennifer Connelly and Rita Moreno. Henson’s own short diary entries — “attend seminar in Cambridge re: Children’s TV workshop” — are also put to good use, as is footage from his funeral, a joyous affair.\u003c/p>\n\u003cp>One weird quibble is the decision by Howard — who apparently met Henson once, briefly — to put his interview subjects in a sterile, grey room with brick walls. Why keep going back there to celebrate a figure who opposed formality?\u003c/p>\n\u003cp>Frank Oz, the voice of Miss Piggy and Ernie who was Henson’s puppeteering partner in crime for decades, is wonderfully honest about his yin-and-yang relationship with Henson — “it was both a joy and a grind” — as are Henson’s children about their father, who died in 1990.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s an honesty and an integrity to what he was creating. He was creating it because he needed to create it,” one says. Another concludes: “He showed that creativity, artistry, metaphor can be used as a great power of good.”\u003c/p>\n\u003cp>There are fascinating moments — like when we learn that Kermit wasn’t originally a frog at all — to ones more sublime, like how Miss Piggy made her dramatic entrance as a star in her own right. (A clip of her flirting with Morley Safer is priceless.) Viewers may shake their head when learning that all the networks initially passed on \u003cem>The Muppet Show\u003c/em> and it had to be made in England.\u003c/p>\n\u003cp>It’s a documentary, ultimately, about creativity and a singular mind, one who dreamed up a gaggle of friends for life: Big Bird, Cookie Monster, the Count and, of course, Kermit, stitched from an old coat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jim Henson Idea Man’ premieres on Disney+ on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13958495\" class=\"wp-caption aligncenter\" style=\"max-width: 2089px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg\" alt=\"Man in glasses and bowtie holds puppet controls above small bee puppet\" width=\"2089\" height=\"2060\" class=\"size-full wp-image-13958495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg 2089w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1536x1515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-2048x2020.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1920x1893.jpg 1920w\" sizes=\"(max-width: 2089px) 100vw, 2089px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé with his Brother Buzz puppet, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a library evangelist, it’s rather embarrassing for me to discover an area of San Francisco’s main branch that I have not visited before. Yet I have a feeling I’m not the only one who’s missed this particular corner of the building. Just inside the Larkin Street doors, down the first stairs on the right, is the 1,500-square-foot Jewett Gallery, offering rotating special exhibitions. \u003c/p>\n\u003cp>For the next three months, that exhibition is well worth seeking out. \u003ci>\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>\u003c/i> is a delightful and unexpected local history lesson on the prolific output of an artist, actor, puppeteer and creator of the long-running KPIX television show, \u003ci>The Wonderful World of Brother Buzz\u003c/i>. \u003c/p>\n\u003cp>Born in 1900 in New Orleans, Chessé moved to California in the 1920s to pursue the arts, plural. The library’s show, curated by Glen Helfand, contains evidence of this multi-hyphenate life: paintings, drawings, prints, marionettes and video documentation of performances. On top of that are family photographs, a reproduction of Chessé’s Coit Tower mural and a 1966 article that calls the Chessé family “a full-fledged theatrical dynasty.”\u003c/p>\n\u003cfigure id=\"attachment_13958499\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg\" alt=\"Black text on off-white paper advertising marionette performances\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">‘Emperor Jones’ linocut print by Ralph Chessé, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a lot, to be sure — Chessé lived to the age of 91. But the challenge of concisely presenting his long career is aided by snippets of QR-code-activated audio from Bruce and Matt Chessé, his son and grandson. Here we get a more personal understanding of Chessé’s racial identity, which was mixed race, a fact that went unacknowledged during his life in San Francisco. The show posits that his two favorite roles, Hamlet and \u003ca href=\"https://en.wikipedia.org/wiki/The_Emperor_Jones\">Emperor Jones\u003c/a>, were his artistic way of exploring his Black and white heritage.\u003c/p>\n\u003cp>In a spread of black-and-white photographs capturing Chessé in different costumes and roles, detailing his height (5’ 4 ½”), weight (125 lbs) and membership in the Screen Actors Guild, we get a first hint at his versatility. With a switch of posture and overcoat, he slips between serious detective and shrugging goof. He ponders, he listens, he stands distinguished with a long beard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Entranced from an early age by Shakespeare (picture a 13-year-old chasing down audiences to recite monologues from \u003ci>The Merchant of Venice\u003c/i>), Chessé didn’t have the height to win stage roles. And so he transferred his love for the Bard into marionette productions. The exhibition takes care to note that these stagings were “true theater, not shows for kids.”\u003c/p>\n\u003cfigure id=\"attachment_13958497\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg\" alt=\"Black and white photo of man in glasses drawing lines on a canvas\" width=\"2000\" height=\"1603\" class=\"size-full wp-image-13958497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1920x1539.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé drawing, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A display of linocut posters, designed by Chessé and printed by his wife Jo on a laundry-wringer, shows both his sense of graphic design (punchy, lively) and the breadth of his theatrical material, which included \u003ci>Hamlet\u003c/i>, \u003ci>Hansel and Gretel\u003c/i> and \u003ci>H.M.S. Pinafore\u003c/i>. \u003c/p>\n\u003cp>Such ephemera shows Chessé moving his operations across the city, from the Yerba Buena Gardens neighborhood (long before it was Yerba Buena Gardens) to the bohemian hotbed that surrounded 628 Montgomery St. (aka the Monkey Block), before that building was demolished to make way for the Transamerica Pyramid.\u003c/p>\n\u003cfigure id=\"attachment_13958498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg\" alt=\"Two bee puppets dressed in clothes on a rocky set\" width=\"2000\" height=\"2291\" class=\"size-full wp-image-13958498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-800x916.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1020x1168.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-768x880.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1341x1536.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1788x2048.jpg 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1920x2199.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the set of ‘Brother Buzz’ showing Brother Buzz and Busy Bee, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These often hand-printed advertisements are also evidence of Chessé’s serious hustle. While he may have painted a mural in Coit Tower (children at play, strangely unsmiling in protest of the city’s response to the 1934 longshoremen’s strike) and served, in the ’30s, as the director of puppetry for the state of California for the Federal Theater Project, during WWII he worked in a Bay Area shipyard. As his son Bruce says in an audio clip, “He did not have a steady income until he was 56 years old.” \u003c/p>\n\u003cp>That was when the \u003ca href=\"https://www.latham.org/\">Latham Foundation for the Promotion of Humane Education\u003c/a> approached Chessé about a children’s television show to encourage kindness to animals. \u003ci>The Wonderful World of Brother Buzz\u003c/i> was on the air from 1953 to 1969, and saw Chessé creating a new animal marionette each week to illustrate those lessons. Just a few of these presumably hundreds of characters are on display in the Jewett Gallery, including dapper Brother Buzz (he wears a top hat) and a bat wearing a sharp tan suit.\u003c/p>\n\u003cp>It’s yet another tantalizing display of a smidgen of Chessé’s output (you can catch clips of the show the \u003ca href=\"https://vimeo.com/showcase/5048493\">Latham Foundation’s website\u003c/a>) in a show that might send you home Googling things like “unsmiling Coit Tower” and “City of Paris department store” — parts of San Francisco history graced by the seemingly inexhaustible talent of Ralph Chessé.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery (100 Larkin St., Lower Level) through Aug. 18, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958495\" class=\"wp-caption aligncenter\" style=\"max-width: 2089px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg\" alt=\"Man in glasses and bowtie holds puppet controls above small bee puppet\" width=\"2089\" height=\"2060\" class=\"size-full wp-image-13958495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg 2089w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1536x1515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-2048x2020.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1920x1893.jpg 1920w\" sizes=\"(max-width: 2089px) 100vw, 2089px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé with his Brother Buzz puppet, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a library evangelist, it’s rather embarrassing for me to discover an area of San Francisco’s main branch that I have not visited before. Yet I have a feeling I’m not the only one who’s missed this particular corner of the building. Just inside the Larkin Street doors, down the first stairs on the right, is the 1,500-square-foot Jewett Gallery, offering rotating special exhibitions. \u003c/p>\n\u003cp>For the next three months, that exhibition is well worth seeking out. \u003ci>\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>\u003c/i> is a delightful and unexpected local history lesson on the prolific output of an artist, actor, puppeteer and creator of the long-running KPIX television show, \u003ci>The Wonderful World of Brother Buzz\u003c/i>. \u003c/p>\n\u003cp>Born in 1900 in New Orleans, Chessé moved to California in the 1920s to pursue the arts, plural. The library’s show, curated by Glen Helfand, contains evidence of this multi-hyphenate life: paintings, drawings, prints, marionettes and video documentation of performances. On top of that are family photographs, a reproduction of Chessé’s Coit Tower mural and a 1966 article that calls the Chessé family “a full-fledged theatrical dynasty.”\u003c/p>\n\u003cfigure id=\"attachment_13958499\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg\" alt=\"Black text on off-white paper advertising marionette performances\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">‘Emperor Jones’ linocut print by Ralph Chessé, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a lot, to be sure — Chessé lived to the age of 91. But the challenge of concisely presenting his long career is aided by snippets of QR-code-activated audio from Bruce and Matt Chessé, his son and grandson. Here we get a more personal understanding of Chessé’s racial identity, which was mixed race, a fact that went unacknowledged during his life in San Francisco. The show posits that his two favorite roles, Hamlet and \u003ca href=\"https://en.wikipedia.org/wiki/The_Emperor_Jones\">Emperor Jones\u003c/a>, were his artistic way of exploring his Black and white heritage.\u003c/p>\n\u003cp>In a spread of black-and-white photographs capturing Chessé in different costumes and roles, detailing his height (5’ 4 ½”), weight (125 lbs) and membership in the Screen Actors Guild, we get a first hint at his versatility. With a switch of posture and overcoat, he slips between serious detective and shrugging goof. He ponders, he listens, he stands distinguished with a long beard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Entranced from an early age by Shakespeare (picture a 13-year-old chasing down audiences to recite monologues from \u003ci>The Merchant of Venice\u003c/i>), Chessé didn’t have the height to win stage roles. And so he transferred his love for the Bard into marionette productions. The exhibition takes care to note that these stagings were “true theater, not shows for kids.”\u003c/p>\n\u003cfigure id=\"attachment_13958497\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg\" alt=\"Black and white photo of man in glasses drawing lines on a canvas\" width=\"2000\" height=\"1603\" class=\"size-full wp-image-13958497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1920x1539.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé drawing, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A display of linocut posters, designed by Chessé and printed by his wife Jo on a laundry-wringer, shows both his sense of graphic design (punchy, lively) and the breadth of his theatrical material, which included \u003ci>Hamlet\u003c/i>, \u003ci>Hansel and Gretel\u003c/i> and \u003ci>H.M.S. Pinafore\u003c/i>. \u003c/p>\n\u003cp>Such ephemera shows Chessé moving his operations across the city, from the Yerba Buena Gardens neighborhood (long before it was Yerba Buena Gardens) to the bohemian hotbed that surrounded 628 Montgomery St. (aka the Monkey Block), before that building was demolished to make way for the Transamerica Pyramid.\u003c/p>\n\u003cfigure id=\"attachment_13958498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg\" alt=\"Two bee puppets dressed in clothes on a rocky set\" width=\"2000\" height=\"2291\" class=\"size-full wp-image-13958498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-800x916.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1020x1168.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-768x880.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1341x1536.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1788x2048.jpg 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1920x2199.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the set of ‘Brother Buzz’ showing Brother Buzz and Busy Bee, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These often hand-printed advertisements are also evidence of Chessé’s serious hustle. While he may have painted a mural in Coit Tower (children at play, strangely unsmiling in protest of the city’s response to the 1934 longshoremen’s strike) and served, in the ’30s, as the director of puppetry for the state of California for the Federal Theater Project, during WWII he worked in a Bay Area shipyard. As his son Bruce says in an audio clip, “He did not have a steady income until he was 56 years old.” \u003c/p>\n\u003cp>That was when the \u003ca href=\"https://www.latham.org/\">Latham Foundation for the Promotion of Humane Education\u003c/a> approached Chessé about a children’s television show to encourage kindness to animals. \u003ci>The Wonderful World of Brother Buzz\u003c/i> was on the air from 1953 to 1969, and saw Chessé creating a new animal marionette each week to illustrate those lessons. Just a few of these presumably hundreds of characters are on display in the Jewett Gallery, including dapper Brother Buzz (he wears a top hat) and a bat wearing a sharp tan suit.\u003c/p>\n\u003cp>It’s yet another tantalizing display of a smidgen of Chessé’s output (you can catch clips of the show the \u003ca href=\"https://vimeo.com/showcase/5048493\">Latham Foundation’s website\u003c/a>) in a show that might send you home Googling things like “unsmiling Coit Tower” and “City of Paris department store” — parts of San Francisco history graced by the seemingly inexhaustible talent of Ralph Chessé.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery (100 Larkin St., Lower Level) through Aug. 18, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Pursuit of Radical Honesty, ‘Jerrod Carmichael Reality Show’ Delivers Ambiguity",
"headTitle": "In Pursuit of Radical Honesty, ‘Jerrod Carmichael Reality Show’ Delivers Ambiguity | KQED",
"content": "\u003cp>Peruse any online thread discussing \u003cem>Jerrod Carmichael Reality Show\u003c/em>, the disquieting HBO series created by and starring the titular comedian and filmmaker, and colorful descriptors like “pretentious,” “mega narcissist,” and “self-righteous piece of [\u003cem>redacted\u003c/em>]” are bound to appear.\u003c/p>\n\u003cp>“This show seems kinda invasive,” one observer noted\u003ca href=\"https://www.reddit.com/r/JerrodCarmichael/comments/1brcpr5/jerrod_carmichael_reality_show_kinda_weird_to/\"> on Reddit\u003c/a>. “… I’m not sure what the obsession is with public humiliation … About a year ago, I was very much a fan of his honesty and what seemed to be [a] down to earth personality but it looks like it’s morphed into the narcissistic cry for help.”\u003c/p>\n\u003cp>Carmichael earned a lot of good will from his 2022 breakout standup special\u003cem>\u003ca href=\"https://www.npr.org/2022/04/11/1091748272/jerrod-carmichael-rothaniel-standup-special-hbo-comes-out\"> Rothaniel\u003c/a>\u003c/em>, in which he — among other things — came out publicly as gay and processed his mom Cynthia’s devout homophobia. It launched him into the “mainstream”; that is, a stratosphere where one wins prestigious awards, guest hosts \u003cem>Saturday Night Live\u003c/em>, and makes headlines for\u003ca href=\"https://variety.com/2024/film/news/jerrod-carmichael-regrets-dave-chappelle-criticism-trans-jokes-1235974314/\"> easily agitating\u003c/a> the ever-crotchety elder statesman Dave Chappelle.\u003c/p>\n\u003cp>[aside postid='arts_13957959']He was easy to root for because he treated the performance like a therapist’s couch, a safe space where he could break through the silence that encourages shame and deceit. It was different from, but in the lineage of,\u003ca href=\"https://www.youtube.com/watch?v=HUUCnt0Jexg\"> Richard Pryor’s recounting of his own drug addiction\u003c/a> in \u003cem>Live on the Sunset Strip\u003c/em> — confessional, blunt, and refreshingly relatable to those who’ve shared a similar experience, delivered in the way only a gifted and self-aware comedian can.\u003c/p>\n\u003cp>But \u003cem>Reality Show \u003c/em>practices an entirely different mode of candor. On camera, Carmichael cheats on his boyfriend Mike and later lies about it during their couples therapy session. He misses a friend’s wedding because he makes a pit stop to get a hot dog along the way. (He was supposed to be the best man.) He goads his parents Joe and Cynthia into having raw, painful discussions about their once-private lives and tightly held beliefs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this is done in service of what he sees as a greater good: radical honesty, which he in turn hopes will lead to stronger bonds with his loved ones. Yet for some, the show has morphed the perception of him from that of an artist valiantly speaking the truth to an exhaustingly selfish crusader for a very specific truth — his own. And whether or not he succeeds at repairing his fractured relationships is only partially answered by \u003cem>Reality Show\u003c/em>‘s finale, which aired Friday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r5Jly91mvGA\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Reality Show\u003c/strong>\u003c/em>\u003cstrong> stands apart\u003c/strong>\u003c/h3>\n\u003cp>If \u003cem>Rothaniel \u003c/em>was presented as catharsis, \u003cem>Reality Show \u003c/em>arguably functions as exploitation. It’s one thing to process grief, pain, and pathos through your art; it’s utterly baffling to directly involve the sources of that pathos in your artistic process, particularly when they seem formidably resistant to even acknowledging themselves as the source.\u003c/p>\n\u003cp>This isn’t the first time. In 2019, Carmichael released two HBO documentary specials that also featured him in conversation with his family, \u003cem>Home Videos \u003c/em>and \u003cem>Sermon on the Mount. Home Videos \u003c/em>is where he first tested the waters to see how his mom would react to him coming out to her. On camera, he offhandedly dropped in an admission that he’s hooked up with men but stopped short at identifying as gay. Cynthia barely acknowledged the unexpected disclosure.\u003c/p>\n\u003cp>As Carmichael told Dave Holmes for\u003ca href=\"https://www.esquire.com/entertainment/tv/a60341676/jerrod-carmichael-reality-show-profile-2024/\"> \u003cem>Esquire\u003c/em>\u003c/a>, the silence from his parents after coming out is what pushed him to create \u003cem>Reality Show \u003c/em>in the first place: “The lack of acknowledgment is what made me go, ‘Okay, I’ll turn the volume up.’ How do I make it as extreme as possible? It’s testing the limits of their cognitive dissonance.”\u003c/p>\n\u003cp>The extremities make up a strange gumbo: One-part old-school docu-style reality TV (in a different era, this could’ve been \u003cem>True Life\u003c/em>: “My Mom’s a Homophobe”); a dash of trashy celeb-reality (think \u003cem>Being Bobby Brown\u003c/em> or \u003cem>Britney & Kevin: Chaotic\u003c/em>); and another part self-referential prestige experiment (Sarah Polley’s \u003cem>Stories We Tell\u003c/em> or \u003cem>How To with John Wilson\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13957624']For all its cross-cultural parallels, though, \u003cem>Reality Show \u003c/em>stands apart. To his credit, while he has near-total creative control as the creator, co-executive producer, and star, he’s willing to show himself being challenged by his own cognitive dissonance. Within the first few minutes of \u003cem>Reality Show\u003c/em>, he makes his MO plain: “Cameras make me feel more comfortable, I like this — it seems permanent, and it feels really dumb to lie.” And yet, we later watch him lie on camera about being monogamous during a couples therapy session with Mike, proving he struggles to adhere to his own ethos, at least at first. (As the season carries on, he and Mike try out non-monogamy together, and seem to find that it works for them.)\u003c/p>\n\u003cp>The reality TV genre feeds heartily upon the judgmental instincts of its viewers. It needs audiences to engage with it as gossip fodder and opinion-generator, encouraging those who tune in for the “real”-ish drama to scoff at the foolish personalities, cheer on the likable heroes, and boo the flamboyant antagonists. Carmichael clearly understands the format — unscripted in theory, though manipulated and edited to make the “real” fit more neatly into a dramatic arc — and bends it to his will. And while the crudest entries in the reality genre tend to bring up social issues and prejudices either unintentionally or superficially, with \u003cem>Reality Show\u003c/em>, Carmichael chooses to purposefully expose the issues in the name of raw, unfiltered honesty.\u003c/p>\n\u003ch3>\u003cstrong>“I think this will be good for you”\u003c/strong>\u003c/h3>\n\u003cp>In the mid-2010s, he co-created and starred in the loosely autobiographical network sitcom \u003cem>The Carmichael Show\u003c/em>. Far more subversive than its multi-camera, live studio audience format let on, it positioned him as a nihilistic provocateur who revels in frank, multi-generational conversations on an assortment of hot-button issues with his fictional family: abortion, assisted suicide, mass shootings, depression. (It’s frequently, and aptly, been referred to as a modern-day \u003cem>All in the Family\u003c/em>.)\u003c/p>\n\u003cp>A Season 2 episode focuses on Jerrod’s dad Joe (David Alan Grier) as he prepares to deliver a eulogy for his own father, who was abusive and abandoned the family long ago. Jerrod doesn’t understand why Joe would want to honor him — “Am I the only one who remembers what a deadbeat that man was?” — but Joe feels bound by the tradition of never speaking ill of the dead. Jerrod counters that if Joe is going to give the eulogy, he should at least tell the truth about who the man was: “I think it will be good for you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oAM0GQW-Q04&t=3s\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>That line could’ve been the tagline for \u003cem>Reality Show\u003c/em>, which finds Carmichael butting up against the people in his life — many of them older — who bristle at his desire to revisit painful memories from the past. In the fourth episode, Jerrod attempts to have a straightforward conversation with his real dad Joe, and pelts him with a rapid-fire series of questions about the double life Joe led for years, which included having a secret second family with another woman.\u003c/p>\n\u003cp>“Would you say you loved [the other woman]? Or was it just like, sexual, or was it — ’cause it was a long time, what – like, 40 years of a relationship? Was it hard every time? Did you feel like a bad person?”\u003c/p>\n\u003cp>[aside postid='arts_13956944']Joe, clearly uncomfortable, begins to shut down and insist that the past is the past, but Jerrod keeps pressing him. Joe snaps back: “Why are you digging into this so deep, son?”\u003c/p>\n\u003cp>\u003cem>I think it will be good for you\u003c/em>.\u003c/p>\n\u003cp>“Is this gonna be on your special?” Joe wearily asks. “This is hard for me to discuss on cameras.”\u003c/p>\n\u003cp>Doing this in front of cameras is the only way Carmichael, a late-30s millennial who came of age in the early years of oversharing — \u003cem>The Real World\u003c/em>, blogging, Facebook — knows how to have (or force, really) these conversations. It’s telling that, spliced throughout some of the episodes, \u003cem>Reality Show \u003c/em>includes footage from the Carmichael family’s home videos going back decades, some of which Jerrod himself shot as a kid with a camcorder. The grainy images root the present-day points of conflict firmly in an “authentic” past, suggesting that this project was predestined, something this artist has unintentionally been working toward for decades.\u003c/p>\n\u003cp>“Your option is \u003cem>no\u003c/em> option,” Jerrod snaps back at Joe around that campfire, “so don’t criticize the way I do it. If the cameras help me, then they f—— help. But your way is nothing\u003cstrong>, \u003c/strong>your way is silence\u003cstrong>, \u003c/strong>your way is death.”\u003c/p>\n\u003cp>Eventually, Joe is tapped out. “You’ve expressed yourself … can I go home?”\u003c/p>\n\u003cp>The camera gives Jerrod courage, a security blanket to wear while attempting to address the distance between him and Joe, yet it’s not yielding the results he’s looking for. It’s hard not to wonder if the cameras are actually hindering him in the long run, keeping him stuck on the false hope that others around him — who have thus far only proven rigid in their stances — might open up to him the way he wants them to.\u003c/p>\n\u003cfigure id=\"attachment_13958132\" class=\"wp-caption aligncenter\" style=\"max-width: 1789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg\" alt=\"Close up on a young Black man's face and shoulders. He is glancing downwards and smiling.\" width=\"1789\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg 1789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1536x926.jpg 1536w\" sizes=\"(max-width: 1789px) 100vw, 1789px\">\u003cfigcaption class=\"wp-caption-text\">Jerrod Carmichael in ‘Jerrod Carmichael Reality Show.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Bending his truth for his mom\u003c/strong>\u003c/h3>\n\u003cp>At the core of \u003cem>Reality Show,\u003c/em> nestled beneath the layer of a mission for radical truth, is Carmichael’s determination to radically alter worldviews. “Could my mom \u003cem>change\u003c/em>?” he ponders at one point. He surmises, “It’s reason to keep fighting.”\u003c/p>\n\u003cp>“I’m not going to sit here and lie to you,” his uber-Christian mom Cynthia insists in the finale, while repeating yet again that she’d “prefer” that he isn’t gay. (In an earlier episode, she likened homosexuality to being a murderer.) Cynthia might be the most authentic of all the figures in \u003cem>Reality Show\u003c/em>, unapologetically herself. His impasse with her has less to do with avoiding the truth than it does the fact that \u003cem>her\u003c/em> truth stands in direct opposition to \u003cem>his\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13957776']She visits Jerrod and Mike in New York City for Mother’s Day weekend, and he takes her to a queer-friendly Harlem church, where the pastor pushes back against her insistence that the Bible condemns homosexuality. Later they meet with a queer therapist for joint counseling. Neither of these experiences sees her budging from her stance: “I’d like for him not to be gay,” she tells the therapist during one-on-one time, adding matter-of-factly, “I can go further [with my acceptance], I just choose right now not to … I don’t want to.”\u003c/p>\n\u003cp>Later, when she reiterates her desire for him to find a woman to settle down with, he tries meeting her on her terms: He consents to letting her attempt to pray away the gay in front of him. She’s truly giddy; it might be the happiest she appears in the entire show. “I love you. That blessed my heart,” she says, satisfied. She’s completely unaware (or unbothered?) by how her son’s body seems to recoil out of deep discomfort.\u003c/p>\n\u003cp>In an effective bit of dramatic editing, the prayer immediately cuts to Carmichael remarking on the moment during a standup performance. “She was so happy that I let her do it. I immediately regretted it.”\u003c/p>\n\u003cfigure id=\"attachment_13958135\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958135\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png\" alt=\"A Black man wearing a red shirt leans forward and smiles towards a microphone. He has one arm raised next to him.\" width=\"1290\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-768x430.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Carmichael in ‘Rothaniel,’ his 2022 special. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003cem>Reality Show\u003c/em>, Carmichael imagines standup snippets as if they were a more elevated version of a confessional booth, that reality TV convention where the cast members get to narrate their perspective of the story unfolding. It’s devastating watching him concede to her, to allow her this delusion. But there’s life as-it-happens and life as reflected upon later. And it’s important to note this doesn’t come out of nowhere; this has been years in the making, with long periods of absence and occasional heated exchanges, some of which were captured on camera. Through his extravagant attempts at familial reconciliation, Jerrod’s ultimately realized he has to bend his truth a little to maintain some sort of relationship with Cynthia.\u003c/p>\n\u003cp>\u003cem>I think it will be good for you.\u003c/em>\u003c/p>\n\u003cp>“You know what I realized I need is a reason to believe everything will be OK,” he adds. “I’m always looking for that. When I was young, I found it in my mother. And now, I’m finding a lot of that in [Mike].” As he says this, a montage of images flurry by: Cynthia packing her bags in her hotel room to go back home to North Carolina; a younger Cynthia smiling for the camera in a home video; Mike teaching Jerrod how to swim in a pool.\u003c/p>\n\u003ch3>A revelatory viewing experience\u003c/h3>\n\u003cp>And yet the finale also suggests a small but perceptible shift in Jerrod’s relationship with Cynthia, and proves the show is more than a masochistic, navel-gazey affair (though it’s certainly that, too). This is soap opera verité in its most anarchic state — almost certainly a terrible idea for everyone involved, but quite possibly a learning experience for those observing from the outside looking in.\u003c/p>\n\u003cp>The post-credits sequence is jarringly optimistic. The final image is of Mike and Cynthia laughing together in her kitchen in North Carolina a few months later; she even places her hand affectionately on his back for a quick moment. We have no idea if Cynthia still believes Jerrod and Mike are on equally sinful footing with murderers, though the scene implies something within her has softened.\u003c/p>\n\u003cp>[aside postid='arts_13957264']It’s unclear what we’re supposed to make of this — that maybe Jerrod’s persistence has actually helped him reconnect with his family? If so, it’s worth considering \u003cem>Reality Show \u003c/em>a success for what he’s said he wanted out of this project, even if there’s reason to be disappointed in the concessions he may have had to make to get there.\u003c/p>\n\u003cp>The impulse to question why any of this needed to happen in such a public manner doesn’t completely recede with this conclusion, though maybe it makes the show’s existence easier to digest. In any case, the ending is hardly pat — real life plays out on its own terms away from the cameras — and \u003cem>Reality Show\u003c/em>‘s frank depiction of a Black queer man attempting to push back against his family’s culture of silence moves the needle even further than \u003cem>Rothaniel \u003c/em>did. He’s provided viewers with an imperfect guide for how to have difficult but necessary conversations with the people they care about (preferably without dropping a camera crew in the mix).\u003c/p>\n\u003cp>Oddly enough, \u003cem>Reality Show \u003c/em>shares a bit in common with the most recent season of the absurdist Netflix dating series \u003cem>Love Is Blind\u003c/em>, which featured Clay, a young Black man who also dealt with unresolved trauma stemming from his own dad’s infidelities in a very public manner. The show’s silly “social experiment” — above all designed for maximum gawking and entertainment — inadvertently stumbled into a candid and relatively honest discussion about Black masculinity and generational trauma.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/17/love_is_blind_n_s6_e12_00_39_17_08rc.jpg-love_is_blind_n_s6_e12_00_39_17_08rc_custom-77d3eee5e4f32c0f5926a2d07484a391247d72ea.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black man in a smart suit walks arm-in-arm with an older Black woman who is wearing a green formal dress and yellow shoulder wrap.\" width=\"1200\" height=\"707\">\u003cfigcaption class=\"wp-caption-text\">Clay and his mom Margarita on ‘Love is Blind.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>At Clay’s doomed wedding ceremony to AD, his mom Margarita, no longer married to his dad Trevor, gave the series its truest moment thus far, when she explained to Trevor how his actions were affecting their son all these years later. “Your past and things that you witness, it’s part of your DNA. It’s part of your inside. And if you don’t get freakin’ help, you bring that s— into the next thing.”\u003c/p>\n\u003cp>Clay brought his baggage into \u003cem>Love Is Blind \u003c/em>and Jerrod brought his into \u003cem>Reality Show. \u003c/em>Disarray ensued and feelings were hurt. There’s a silver lining though: In making highly questionable decisions for all the world to see, they forced conversations that need to be had but often aren’t, and perhaps some viewers may come away feeling inspired to confront similar issues in their own lives. Even amid all the mess, some honesty managed to break through the silence.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Season 1 of ‘Jerrod Carmichael Reality Show’ is streaming now on Max.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The comedian’s Max series has been called invasive and narcissistic — but it's also a natural progression for Carmichael.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peruse any online thread discussing \u003cem>Jerrod Carmichael Reality Show\u003c/em>, the disquieting HBO series created by and starring the titular comedian and filmmaker, and colorful descriptors like “pretentious,” “mega narcissist,” and “self-righteous piece of [\u003cem>redacted\u003c/em>]” are bound to appear.\u003c/p>\n\u003cp>“This show seems kinda invasive,” one observer noted\u003ca href=\"https://www.reddit.com/r/JerrodCarmichael/comments/1brcpr5/jerrod_carmichael_reality_show_kinda_weird_to/\"> on Reddit\u003c/a>. “… I’m not sure what the obsession is with public humiliation … About a year ago, I was very much a fan of his honesty and what seemed to be [a] down to earth personality but it looks like it’s morphed into the narcissistic cry for help.”\u003c/p>\n\u003cp>Carmichael earned a lot of good will from his 2022 breakout standup special\u003cem>\u003ca href=\"https://www.npr.org/2022/04/11/1091748272/jerrod-carmichael-rothaniel-standup-special-hbo-comes-out\"> Rothaniel\u003c/a>\u003c/em>, in which he — among other things — came out publicly as gay and processed his mom Cynthia’s devout homophobia. It launched him into the “mainstream”; that is, a stratosphere where one wins prestigious awards, guest hosts \u003cem>Saturday Night Live\u003c/em>, and makes headlines for\u003ca href=\"https://variety.com/2024/film/news/jerrod-carmichael-regrets-dave-chappelle-criticism-trans-jokes-1235974314/\"> easily agitating\u003c/a> the ever-crotchety elder statesman Dave Chappelle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was easy to root for because he treated the performance like a therapist’s couch, a safe space where he could break through the silence that encourages shame and deceit. It was different from, but in the lineage of,\u003ca href=\"https://www.youtube.com/watch?v=HUUCnt0Jexg\"> Richard Pryor’s recounting of his own drug addiction\u003c/a> in \u003cem>Live on the Sunset Strip\u003c/em> — confessional, blunt, and refreshingly relatable to those who’ve shared a similar experience, delivered in the way only a gifted and self-aware comedian can.\u003c/p>\n\u003cp>But \u003cem>Reality Show \u003c/em>practices an entirely different mode of candor. On camera, Carmichael cheats on his boyfriend Mike and later lies about it during their couples therapy session. He misses a friend’s wedding because he makes a pit stop to get a hot dog along the way. (He was supposed to be the best man.) He goads his parents Joe and Cynthia into having raw, painful discussions about their once-private lives and tightly held beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this is done in service of what he sees as a greater good: radical honesty, which he in turn hopes will lead to stronger bonds with his loved ones. Yet for some, the show has morphed the perception of him from that of an artist valiantly speaking the truth to an exhaustingly selfish crusader for a very specific truth — his own. And whether or not he succeeds at repairing his fractured relationships is only partially answered by \u003cem>Reality Show\u003c/em>‘s finale, which aired Friday.\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/r5Jly91mvGA'\n title='//www.youtube.com/embed/r5Jly91mvGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cem>\u003cstrong>Reality Show\u003c/strong>\u003c/em>\u003cstrong> stands apart\u003c/strong>\u003c/h3>\n\u003cp>If \u003cem>Rothaniel \u003c/em>was presented as catharsis, \u003cem>Reality Show \u003c/em>arguably functions as exploitation. It’s one thing to process grief, pain, and pathos through your art; it’s utterly baffling to directly involve the sources of that pathos in your artistic process, particularly when they seem formidably resistant to even acknowledging themselves as the source.\u003c/p>\n\u003cp>This isn’t the first time. In 2019, Carmichael released two HBO documentary specials that also featured him in conversation with his family, \u003cem>Home Videos \u003c/em>and \u003cem>Sermon on the Mount. Home Videos \u003c/em>is where he first tested the waters to see how his mom would react to him coming out to her. On camera, he offhandedly dropped in an admission that he’s hooked up with men but stopped short at identifying as gay. Cynthia barely acknowledged the unexpected disclosure.\u003c/p>\n\u003cp>As Carmichael told Dave Holmes for\u003ca href=\"https://www.esquire.com/entertainment/tv/a60341676/jerrod-carmichael-reality-show-profile-2024/\"> \u003cem>Esquire\u003c/em>\u003c/a>, the silence from his parents after coming out is what pushed him to create \u003cem>Reality Show \u003c/em>in the first place: “The lack of acknowledgment is what made me go, ‘Okay, I’ll turn the volume up.’ How do I make it as extreme as possible? It’s testing the limits of their cognitive dissonance.”\u003c/p>\n\u003cp>The extremities make up a strange gumbo: One-part old-school docu-style reality TV (in a different era, this could’ve been \u003cem>True Life\u003c/em>: “My Mom’s a Homophobe”); a dash of trashy celeb-reality (think \u003cem>Being Bobby Brown\u003c/em> or \u003cem>Britney & Kevin: Chaotic\u003c/em>); and another part self-referential prestige experiment (Sarah Polley’s \u003cem>Stories We Tell\u003c/em> or \u003cem>How To with John Wilson\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all its cross-cultural parallels, though, \u003cem>Reality Show \u003c/em>stands apart. To his credit, while he has near-total creative control as the creator, co-executive producer, and star, he’s willing to show himself being challenged by his own cognitive dissonance. Within the first few minutes of \u003cem>Reality Show\u003c/em>, he makes his MO plain: “Cameras make me feel more comfortable, I like this — it seems permanent, and it feels really dumb to lie.” And yet, we later watch him lie on camera about being monogamous during a couples therapy session with Mike, proving he struggles to adhere to his own ethos, at least at first. (As the season carries on, he and Mike try out non-monogamy together, and seem to find that it works for them.)\u003c/p>\n\u003cp>The reality TV genre feeds heartily upon the judgmental instincts of its viewers. It needs audiences to engage with it as gossip fodder and opinion-generator, encouraging those who tune in for the “real”-ish drama to scoff at the foolish personalities, cheer on the likable heroes, and boo the flamboyant antagonists. Carmichael clearly understands the format — unscripted in theory, though manipulated and edited to make the “real” fit more neatly into a dramatic arc — and bends it to his will. And while the crudest entries in the reality genre tend to bring up social issues and prejudices either unintentionally or superficially, with \u003cem>Reality Show\u003c/em>, Carmichael chooses to purposefully expose the issues in the name of raw, unfiltered honesty.\u003c/p>\n\u003ch3>\u003cstrong>“I think this will be good for you”\u003c/strong>\u003c/h3>\n\u003cp>In the mid-2010s, he co-created and starred in the loosely autobiographical network sitcom \u003cem>The Carmichael Show\u003c/em>. Far more subversive than its multi-camera, live studio audience format let on, it positioned him as a nihilistic provocateur who revels in frank, multi-generational conversations on an assortment of hot-button issues with his fictional family: abortion, assisted suicide, mass shootings, depression. (It’s frequently, and aptly, been referred to as a modern-day \u003cem>All in the Family\u003c/em>.)\u003c/p>\n\u003cp>A Season 2 episode focuses on Jerrod’s dad Joe (David Alan Grier) as he prepares to deliver a eulogy for his own father, who was abusive and abandoned the family long ago. Jerrod doesn’t understand why Joe would want to honor him — “Am I the only one who remembers what a deadbeat that man was?” — but Joe feels bound by the tradition of never speaking ill of the dead. Jerrod counters that if Joe is going to give the eulogy, he should at least tell the truth about who the man was: “I think it will be good for you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oAM0GQW-Q04'\n title='//www.youtube.com/embed/oAM0GQW-Q04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>That line could’ve been the tagline for \u003cem>Reality Show\u003c/em>, which finds Carmichael butting up against the people in his life — many of them older — who bristle at his desire to revisit painful memories from the past. In the fourth episode, Jerrod attempts to have a straightforward conversation with his real dad Joe, and pelts him with a rapid-fire series of questions about the double life Joe led for years, which included having a secret second family with another woman.\u003c/p>\n\u003cp>“Would you say you loved [the other woman]? Or was it just like, sexual, or was it — ’cause it was a long time, what – like, 40 years of a relationship? Was it hard every time? Did you feel like a bad person?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Joe, clearly uncomfortable, begins to shut down and insist that the past is the past, but Jerrod keeps pressing him. Joe snaps back: “Why are you digging into this so deep, son?”\u003c/p>\n\u003cp>\u003cem>I think it will be good for you\u003c/em>.\u003c/p>\n\u003cp>“Is this gonna be on your special?” Joe wearily asks. “This is hard for me to discuss on cameras.”\u003c/p>\n\u003cp>Doing this in front of cameras is the only way Carmichael, a late-30s millennial who came of age in the early years of oversharing — \u003cem>The Real World\u003c/em>, blogging, Facebook — knows how to have (or force, really) these conversations. It’s telling that, spliced throughout some of the episodes, \u003cem>Reality Show \u003c/em>includes footage from the Carmichael family’s home videos going back decades, some of which Jerrod himself shot as a kid with a camcorder. The grainy images root the present-day points of conflict firmly in an “authentic” past, suggesting that this project was predestined, something this artist has unintentionally been working toward for decades.\u003c/p>\n\u003cp>“Your option is \u003cem>no\u003c/em> option,” Jerrod snaps back at Joe around that campfire, “so don’t criticize the way I do it. If the cameras help me, then they f—— help. But your way is nothing\u003cstrong>, \u003c/strong>your way is silence\u003cstrong>, \u003c/strong>your way is death.”\u003c/p>\n\u003cp>Eventually, Joe is tapped out. “You’ve expressed yourself … can I go home?”\u003c/p>\n\u003cp>The camera gives Jerrod courage, a security blanket to wear while attempting to address the distance between him and Joe, yet it’s not yielding the results he’s looking for. It’s hard not to wonder if the cameras are actually hindering him in the long run, keeping him stuck on the false hope that others around him — who have thus far only proven rigid in their stances — might open up to him the way he wants them to.\u003c/p>\n\u003cfigure id=\"attachment_13958132\" class=\"wp-caption aligncenter\" style=\"max-width: 1789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg\" alt=\"Close up on a young Black man's face and shoulders. He is glancing downwards and smiling.\" width=\"1789\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg 1789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1536x926.jpg 1536w\" sizes=\"(max-width: 1789px) 100vw, 1789px\">\u003cfigcaption class=\"wp-caption-text\">Jerrod Carmichael in ‘Jerrod Carmichael Reality Show.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Bending his truth for his mom\u003c/strong>\u003c/h3>\n\u003cp>At the core of \u003cem>Reality Show,\u003c/em> nestled beneath the layer of a mission for radical truth, is Carmichael’s determination to radically alter worldviews. “Could my mom \u003cem>change\u003c/em>?” he ponders at one point. He surmises, “It’s reason to keep fighting.”\u003c/p>\n\u003cp>“I’m not going to sit here and lie to you,” his uber-Christian mom Cynthia insists in the finale, while repeating yet again that she’d “prefer” that he isn’t gay. (In an earlier episode, she likened homosexuality to being a murderer.) Cynthia might be the most authentic of all the figures in \u003cem>Reality Show\u003c/em>, unapologetically herself. His impasse with her has less to do with avoiding the truth than it does the fact that \u003cem>her\u003c/em> truth stands in direct opposition to \u003cem>his\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She visits Jerrod and Mike in New York City for Mother’s Day weekend, and he takes her to a queer-friendly Harlem church, where the pastor pushes back against her insistence that the Bible condemns homosexuality. Later they meet with a queer therapist for joint counseling. Neither of these experiences sees her budging from her stance: “I’d like for him not to be gay,” she tells the therapist during one-on-one time, adding matter-of-factly, “I can go further [with my acceptance], I just choose right now not to … I don’t want to.”\u003c/p>\n\u003cp>Later, when she reiterates her desire for him to find a woman to settle down with, he tries meeting her on her terms: He consents to letting her attempt to pray away the gay in front of him. She’s truly giddy; it might be the happiest she appears in the entire show. “I love you. That blessed my heart,” she says, satisfied. She’s completely unaware (or unbothered?) by how her son’s body seems to recoil out of deep discomfort.\u003c/p>\n\u003cp>In an effective bit of dramatic editing, the prayer immediately cuts to Carmichael remarking on the moment during a standup performance. “She was so happy that I let her do it. I immediately regretted it.”\u003c/p>\n\u003cfigure id=\"attachment_13958135\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958135\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png\" alt=\"A Black man wearing a red shirt leans forward and smiles towards a microphone. He has one arm raised next to him.\" width=\"1290\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-768x430.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Carmichael in ‘Rothaniel,’ his 2022 special. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003cem>Reality Show\u003c/em>, Carmichael imagines standup snippets as if they were a more elevated version of a confessional booth, that reality TV convention where the cast members get to narrate their perspective of the story unfolding. It’s devastating watching him concede to her, to allow her this delusion. But there’s life as-it-happens and life as reflected upon later. And it’s important to note this doesn’t come out of nowhere; this has been years in the making, with long periods of absence and occasional heated exchanges, some of which were captured on camera. Through his extravagant attempts at familial reconciliation, Jerrod’s ultimately realized he has to bend his truth a little to maintain some sort of relationship with Cynthia.\u003c/p>\n\u003cp>\u003cem>I think it will be good for you.\u003c/em>\u003c/p>\n\u003cp>“You know what I realized I need is a reason to believe everything will be OK,” he adds. “I’m always looking for that. When I was young, I found it in my mother. And now, I’m finding a lot of that in [Mike].” As he says this, a montage of images flurry by: Cynthia packing her bags in her hotel room to go back home to North Carolina; a younger Cynthia smiling for the camera in a home video; Mike teaching Jerrod how to swim in a pool.\u003c/p>\n\u003ch3>A revelatory viewing experience\u003c/h3>\n\u003cp>And yet the finale also suggests a small but perceptible shift in Jerrod’s relationship with Cynthia, and proves the show is more than a masochistic, navel-gazey affair (though it’s certainly that, too). This is soap opera verité in its most anarchic state — almost certainly a terrible idea for everyone involved, but quite possibly a learning experience for those observing from the outside looking in.\u003c/p>\n\u003cp>The post-credits sequence is jarringly optimistic. The final image is of Mike and Cynthia laughing together in her kitchen in North Carolina a few months later; she even places her hand affectionately on his back for a quick moment. We have no idea if Cynthia still believes Jerrod and Mike are on equally sinful footing with murderers, though the scene implies something within her has softened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s unclear what we’re supposed to make of this — that maybe Jerrod’s persistence has actually helped him reconnect with his family? If so, it’s worth considering \u003cem>Reality Show \u003c/em>a success for what he’s said he wanted out of this project, even if there’s reason to be disappointed in the concessions he may have had to make to get there.\u003c/p>\n\u003cp>The impulse to question why any of this needed to happen in such a public manner doesn’t completely recede with this conclusion, though maybe it makes the show’s existence easier to digest. In any case, the ending is hardly pat — real life plays out on its own terms away from the cameras — and \u003cem>Reality Show\u003c/em>‘s frank depiction of a Black queer man attempting to push back against his family’s culture of silence moves the needle even further than \u003cem>Rothaniel \u003c/em>did. He’s provided viewers with an imperfect guide for how to have difficult but necessary conversations with the people they care about (preferably without dropping a camera crew in the mix).\u003c/p>\n\u003cp>Oddly enough, \u003cem>Reality Show \u003c/em>shares a bit in common with the most recent season of the absurdist Netflix dating series \u003cem>Love Is Blind\u003c/em>, which featured Clay, a young Black man who also dealt with unresolved trauma stemming from his own dad’s infidelities in a very public manner. The show’s silly “social experiment” — above all designed for maximum gawking and entertainment — inadvertently stumbled into a candid and relatively honest discussion about Black masculinity and generational trauma.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/17/love_is_blind_n_s6_e12_00_39_17_08rc.jpg-love_is_blind_n_s6_e12_00_39_17_08rc_custom-77d3eee5e4f32c0f5926a2d07484a391247d72ea.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black man in a smart suit walks arm-in-arm with an older Black woman who is wearing a green formal dress and yellow shoulder wrap.\" width=\"1200\" height=\"707\">\u003cfigcaption class=\"wp-caption-text\">Clay and his mom Margarita on ‘Love is Blind.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>At Clay’s doomed wedding ceremony to AD, his mom Margarita, no longer married to his dad Trevor, gave the series its truest moment thus far, when she explained to Trevor how his actions were affecting their son all these years later. “Your past and things that you witness, it’s part of your DNA. It’s part of your inside. And if you don’t get freakin’ help, you bring that s— into the next thing.”\u003c/p>\n\u003cp>Clay brought his baggage into \u003cem>Love Is Blind \u003c/em>and Jerrod brought his into \u003cem>Reality Show. \u003c/em>Disarray ensued and feelings were hurt. There’s a silver lining though: In making highly questionable decisions for all the world to see, they forced conversations that need to be had but often aren’t, and perhaps some viewers may come away feeling inspired to confront similar issues in their own lives. Even amid all the mess, some honesty managed to break through the silence.\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>Season 1 of ‘Jerrod Carmichael Reality Show’ is streaming now on Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Spacey Unmasked’ Demonstrates How Sexual Harassers Get Away With It",
"headTitle": "‘Spacey Unmasked’ Demonstrates How Sexual Harassers Get Away With It | KQED",
"content": "\u003cp>At the conclusion of new documentary \u003cem>Spacey Unmasked\u003c/em>, the prevailing feeling is one of distressed resignation.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> — about the personal conduct of Kevin Spacey, spanning five decades — is not the first documentary to chronicle a public figure’s sexual misconduct after they’d avoided or been released early from civil or criminal charges. \u003ca href=\"https://www.kqed.org/arts/13848980/what-took-sony-music-so-long-to-drop-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13908728/we-need-to-talk-about-bill-cosby-showtime-documentary-w-kamau-bell\">\u003cem>We Need to Talk About Cosby\u003c/em>\u003c/a> all did just that.\u003c/p>\n\u003cp>But each of those series also left viewers with the sense that the subjects in question — R. Kelly, Woody Allen and Bill Cosby — would not be able to successfully resume their careers, in part because of the documentaries themselves.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> leaves no such sense about Kevin Spacey.\u003c/p>\n\u003cp>The two-part documentary relies upon 10 men — nine of whom have never spoken out publicly against Spacey before — describing disturbing encounters they each had with the actor. These incidents start from the time Spacey was in high school, and come from Spacey’s former coworkers and students, as well as aspiring actors who believed Spacey could help their careers. Additional voices include \u003cem>House of Cards\u003c/em> crew members who describe a toxic work environment, and Spacey’s brother Randall Fowler, who alleges that he was sexually and physically abused by their Nazi-sympathizing father. (Randall is unclear if Spacey himself was ever abused in similar ways, but says that “acting was a way for [Spacey] to escape where he came from” — a home that “was creepy, cold and violent.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13954740']The men in the documentary suggest that Spacey has little comprehension of consent and zero qualms about using his own status to get what he wants. They describe being inappropriately groped and touched by Spacey in both private and remarkably public spaces, including on active sets. (One man even says he was assaulted in the lobby of London’s Savoy Hotel, not far from a bank of photographers.) Some of the men describe Spacey as a public masturbator. Other incidents are described in which the actor presses his body just a little too hard against someone, or whispers just a little too closely in their ear.\u003c/p>\n\u003cp>Many of the men describe feelings of guilt and shame after their run-ins with Spacey. Some describe negative consequences for their careers. Many have difficulty coming to terms with feeling sexually violated. The hyper-masculine men in \u003cem>Unmasked\u003c/em> in particular — two of the speakers here served as Marines — seem to struggle with that the most. Not feeling in control of their own personal space simply isn’t something they had ever anticipated dealing with. One tries to strike an optimistic note, saying that he hopes by coming forward, it will help other men speak honestly about matters relating to sexual harassment and abuse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NFbiev0MNls\u003c/p>\n\u003cp>Early in both installments, \u003cem>Unmasked\u003c/em> is careful to emphasize that \u003ca href=\"https://apnews.com/article/kevin-spacey-sexual-assault-trial-london-jury-deliberations-85cb3957c60de1a7b1e03a26dc278d95\">Spacey has been found not guilty\u003c/a> in a British court of nine different sexual assault charges, and that \u003ca href=\"https://variety.com/2022/tv/news/anthony-rapp-kevin-spacey-trial-reaction-1235432621/\">Anthony Rapp’s case against Spacey\u003c/a> was dismissed by an American court. (Rapp made accusations against Spacey during the peak of 2017’s #MeToo movement.)\u003c/p>\n\u003cp>And yet the overarching portrait \u003cem>Unmasked\u003c/em> paints of Spacey is one of a cold, sexually aggressive manipulator who pushes against normal physical and social boundaries, but also knows exactly where to draw the line in order to get away with it. The stories in \u003cem>Unmasked\u003c/em> suggest that Spacey was restrained enough to never verbally spell out quid pro quo sexual propositions, but that he was able to propose such arrangements to aspiring actors around him in more subtle ways.\u003c/p>\n\u003cp>[aside postid='arts_13956667']Harvey Weinstein’s accusers frequently talked of his outright threats to destroy their careers if they didn’t do what he wanted. The testimonies in \u003cem>Unmasked\u003c/em> suggest that Spacey’s propositions were infinitely more subtle, and less committal. Perhaps it’s that subtlety that has kept Spacey safe from prosecution. As the documentary notes, the actor regularly dismisses accusations against him by citing his “inappropriate drunken behavior,” making a “clumsy pass” and being “a big flirt.” While it’s impossible to know if Spacey believes this version of reality, it’s one that’s been effective at keeping him out of jail.\u003c/p>\n\u003cp>At the close of the documentary, words flash on the screen from Spacey himself:\u003c/p>\n\u003cblockquote>\u003cp>Kevin Spacey said that he had been provided with insufficient time and detail to respond to the testimonies in this film. He said, ‘I have consistently denied — and now successfully defended — numerous allegations made both in the US and the UK, both criminal and civil, and each time have been able to source evidence undermining the allegations and have been believed by a jury of my peers.’\u003c/p>\u003c/blockquote>\n\u003cp>Given how \u003ca href=\"https://www.kqed.org/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary\">few #MeToo era villains have suffered legal consequences\u003c/a>, one can’t help but feel resigned to the fact that at this point, Spacey probably never will either. Having that slowly spelled out over \u003cem>Spacey Unmasked\u003c/em>’s two hours of heart-wrenching testimonies makes for a bleak and frustrating conclusion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spacey Unmasked’ is streaming now on Max.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the conclusion of new documentary \u003cem>Spacey Unmasked\u003c/em>, the prevailing feeling is one of distressed resignation.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> — about the personal conduct of Kevin Spacey, spanning five decades — is not the first documentary to chronicle a public figure’s sexual misconduct after they’d avoided or been released early from civil or criminal charges. \u003ca href=\"https://www.kqed.org/arts/13848980/what-took-sony-music-so-long-to-drop-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13908728/we-need-to-talk-about-bill-cosby-showtime-documentary-w-kamau-bell\">\u003cem>We Need to Talk About Cosby\u003c/em>\u003c/a> all did just that.\u003c/p>\n\u003cp>But each of those series also left viewers with the sense that the subjects in question — R. Kelly, Woody Allen and Bill Cosby — would not be able to successfully resume their careers, in part because of the documentaries themselves.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> leaves no such sense about Kevin Spacey.\u003c/p>\n\u003cp>The two-part documentary relies upon 10 men — nine of whom have never spoken out publicly against Spacey before — describing disturbing encounters they each had with the actor. These incidents start from the time Spacey was in high school, and come from Spacey’s former coworkers and students, as well as aspiring actors who believed Spacey could help their careers. Additional voices include \u003cem>House of Cards\u003c/em> crew members who describe a toxic work environment, and Spacey’s brother Randall Fowler, who alleges that he was sexually and physically abused by their Nazi-sympathizing father. (Randall is unclear if Spacey himself was ever abused in similar ways, but says that “acting was a way for [Spacey] to escape where he came from” — a home that “was creepy, cold and violent.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The men in the documentary suggest that Spacey has little comprehension of consent and zero qualms about using his own status to get what he wants. They describe being inappropriately groped and touched by Spacey in both private and remarkably public spaces, including on active sets. (One man even says he was assaulted in the lobby of London’s Savoy Hotel, not far from a bank of photographers.) Some of the men describe Spacey as a public masturbator. Other incidents are described in which the actor presses his body just a little too hard against someone, or whispers just a little too closely in their ear.\u003c/p>\n\u003cp>Many of the men describe feelings of guilt and shame after their run-ins with Spacey. Some describe negative consequences for their careers. Many have difficulty coming to terms with feeling sexually violated. The hyper-masculine men in \u003cem>Unmasked\u003c/em> in particular — two of the speakers here served as Marines — seem to struggle with that the most. Not feeling in control of their own personal space simply isn’t something they had ever anticipated dealing with. One tries to strike an optimistic note, saying that he hopes by coming forward, it will help other men speak honestly about matters relating to sexual harassment and abuse.\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/NFbiev0MNls'\n title='//www.youtube.com/embed/NFbiev0MNls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early in both installments, \u003cem>Unmasked\u003c/em> is careful to emphasize that \u003ca href=\"https://apnews.com/article/kevin-spacey-sexual-assault-trial-london-jury-deliberations-85cb3957c60de1a7b1e03a26dc278d95\">Spacey has been found not guilty\u003c/a> in a British court of nine different sexual assault charges, and that \u003ca href=\"https://variety.com/2022/tv/news/anthony-rapp-kevin-spacey-trial-reaction-1235432621/\">Anthony Rapp’s case against Spacey\u003c/a> was dismissed by an American court. (Rapp made accusations against Spacey during the peak of 2017’s #MeToo movement.)\u003c/p>\n\u003cp>And yet the overarching portrait \u003cem>Unmasked\u003c/em> paints of Spacey is one of a cold, sexually aggressive manipulator who pushes against normal physical and social boundaries, but also knows exactly where to draw the line in order to get away with it. The stories in \u003cem>Unmasked\u003c/em> suggest that Spacey was restrained enough to never verbally spell out quid pro quo sexual propositions, but that he was able to propose such arrangements to aspiring actors around him in more subtle ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harvey Weinstein’s accusers frequently talked of his outright threats to destroy their careers if they didn’t do what he wanted. The testimonies in \u003cem>Unmasked\u003c/em> suggest that Spacey’s propositions were infinitely more subtle, and less committal. Perhaps it’s that subtlety that has kept Spacey safe from prosecution. As the documentary notes, the actor regularly dismisses accusations against him by citing his “inappropriate drunken behavior,” making a “clumsy pass” and being “a big flirt.” While it’s impossible to know if Spacey believes this version of reality, it’s one that’s been effective at keeping him out of jail.\u003c/p>\n\u003cp>At the close of the documentary, words flash on the screen from Spacey himself:\u003c/p>\n\u003cblockquote>\u003cp>Kevin Spacey said that he had been provided with insufficient time and detail to respond to the testimonies in this film. He said, ‘I have consistently denied — and now successfully defended — numerous allegations made both in the US and the UK, both criminal and civil, and each time have been able to source evidence undermining the allegations and have been believed by a jury of my peers.’\u003c/p>\u003c/blockquote>\n\u003cp>Given how \u003ca href=\"https://www.kqed.org/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary\">few #MeToo era villains have suffered legal consequences\u003c/a>, one can’t help but feel resigned to the fact that at this point, Spacey probably never will either. Having that slowly spelled out over \u003cem>Spacey Unmasked\u003c/em>’s two hours of heart-wrenching testimonies makes for a bleak and frustrating conclusion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spacey Unmasked’ is streaming now on Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new generation can learn how to paint happy trees and to make happy accidents with a TV series teaching the Bob Ross-method of painting using some of the prolific artist’s work that have never been seen before.\u003c/p>\n\u003cp>Before Ross died in 1995 from cancer, he had completed seven paintings to use in season 32 of \u003cem>The Joy of Painting\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13902109']“He was so sick, but he was still working on his next series because he wanted to be able to keep going,” said Joan Kowalski, president of Bob Ross Inc. Her parents, Annette and Walt Kowalski, co-founded the company with Ross.\u003c/p>\n\u003cp>Those works were stored away for almost three decades. Certified Bob Ross instructor Nicholas Hankins has studied those seven paintings and paints them from scratch on camera in \u003cem>The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season\u003c/em>, which started airing this spring in some markets on American Public Television. \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">Some episodes are available on PBS’ website\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Aoxot0CxTYQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opportunity to “take these paintings and do what Bob ultimately wanted done with them, (to) have them out in the world making people happy is gratifying” said Hankins recently over Zoom. He teaches at the Bob Ross Art Workshop and Gallery about 15 miles from Daytona Beach, Florida, and oversees instructor certification. Hankins also uses six of his own paintings in this new \u003cem>Joy of Painting\u003c/em>, which was filmed and produced at WDSC-TV Daytona State College.\u003c/p>\n\u003cp>[aside postid='pop_34351']“I think that Bob would be incredibly proud of how we’re doing this,” said Kowalski. “There aren’t really many things that come our way where we have to wonder, what should we do? Bob was very specific in how he wanted this whole thing to go into the future.”\u003c/p>\n\u003cp>Hankins is a familiar face to Ross devotees. His own teaching videos posted to the Bob Ross YouTube channel drew upwards of 300,000 views before the idea of TV was ever mentioned.\u003c/p>\n\u003cp>Kowalski is fascinated by the online response to Hankin’s videos. “People notice that Nick is not at all trying to be Bob, and he’s delivering naturally as himself and yet there’s still that same sort of feeling you get watching Bob.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TY4b4JlbNis\u003c/p>\n\u003cp>A surge of interest in all things Bob Ross came out of the pandemic, when people were staying home and looking for ways to pass time. Now, with so many distractions, it can seem like there aren’t enough hours in a day to unwind and rest. If viewers don’t tune in for a painting lesson, Hankins hopes his 30-minute \u003cem>Joy of Painting\u003c/em> episodes helps people to relax in the same spirit as the originals.\u003c/p>\n\u003cp>[aside postid='arts_13867846']“I hope I can carry that part of the legacy on,” he said. “I want to genuinely create an environment where people are going to come in, take half an hour and just turn off the world. Right now is a time we need it.”\u003c/p>\n\u003cp>Kowalski says people used to sheepishly tell Ross “all the time” that they would fall asleep to his episodes, but he didn’t mind. “He said, ‘I love hearing that you’ve never watched a full episode of me.’”\u003c/p>\n\u003cp>If you want to paint along, Hankins said you need basic materials like oil colors, an easel, canvas, and brushes. “But if they’re just watching all they need is a tall glass of iced tea. ”That was Bob’s thing,” he said, “get some iced tea and kick back and watch.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season’ is airing now on American Public Television. Some episodes are available to \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">stream on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He was so sick, but he was still working on his next series because he wanted to be able to keep going,” said Joan Kowalski, president of Bob Ross Inc. Her parents, Annette and Walt Kowalski, co-founded the company with Ross.\u003c/p>\n\u003cp>Those works were stored away for almost three decades. Certified Bob Ross instructor Nicholas Hankins has studied those seven paintings and paints them from scratch on camera in \u003cem>The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season\u003c/em>, which started airing this spring in some markets on American Public Television. \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">Some episodes are available on PBS’ website\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Aoxot0CxTYQ'\n title='//www.youtube.com/embed/Aoxot0CxTYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opportunity to “take these paintings and do what Bob ultimately wanted done with them, (to) have them out in the world making people happy is gratifying” said Hankins recently over Zoom. He teaches at the Bob Ross Art Workshop and Gallery about 15 miles from Daytona Beach, Florida, and oversees instructor certification. Hankins also uses six of his own paintings in this new \u003cem>Joy of Painting\u003c/em>, which was filmed and produced at WDSC-TV Daytona State College.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think that Bob would be incredibly proud of how we’re doing this,” said Kowalski. “There aren’t really many things that come our way where we have to wonder, what should we do? Bob was very specific in how he wanted this whole thing to go into the future.”\u003c/p>\n\u003cp>Hankins is a familiar face to Ross devotees. His own teaching videos posted to the Bob Ross YouTube channel drew upwards of 300,000 views before the idea of TV was ever mentioned.\u003c/p>\n\u003cp>Kowalski is fascinated by the online response to Hankin’s videos. “People notice that Nick is not at all trying to be Bob, and he’s delivering naturally as himself and yet there’s still that same sort of feeling you get watching Bob.”\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/TY4b4JlbNis'\n title='//www.youtube.com/embed/TY4b4JlbNis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A surge of interest in all things Bob Ross came out of the pandemic, when people were staying home and looking for ways to pass time. Now, with so many distractions, it can seem like there aren’t enough hours in a day to unwind and rest. If viewers don’t tune in for a painting lesson, Hankins hopes his 30-minute \u003cem>Joy of Painting\u003c/em> episodes helps people to relax in the same spirit as the originals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I hope I can carry that part of the legacy on,” he said. “I want to genuinely create an environment where people are going to come in, take half an hour and just turn off the world. Right now is a time we need it.”\u003c/p>\n\u003cp>Kowalski says people used to sheepishly tell Ross “all the time” that they would fall asleep to his episodes, but he didn’t mind. “He said, ‘I love hearing that you’ve never watched a full episode of me.’”\u003c/p>\n\u003cp>If you want to paint along, Hankins said you need basic materials like oil colors, an easel, canvas, and brushes. “But if they’re just watching all they need is a tall glass of iced tea. ”That was Bob’s thing,” he said, “get some iced tea and kick back and watch.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season’ is airing now on American Public Television. Some episodes are available to \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">stream on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rarely Seen Rod Serling Story, ‘First Squad, First Platoon,’ Draws Upon His World War II Service",
"headTitle": "Rarely Seen Rod Serling Story, ‘First Squad, First Platoon,’ Draws Upon His World War II Service | KQED",
"content": "\u003cfigure id=\"attachment_13957546\" class=\"wp-caption aligncenter\" style=\"max-width: 1540px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-103641630-scaled-e1715279150282.jpg\" alt=\"A black and white image of a white man in a 1950s-era suit, leaning on a typewriter.\" width=\"1540\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Screenwriter, television producer and host of the original ‘Twilight Zone,’ Rod Serling, circa 1955. \u003ccite>(Archive Photos/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a famous \u003cem>Twilight Zone\u003c/em> episode from the early 1960s, a bloodthirsty World War II commander stationed in the Philippines finds himself transported into the body of a Japanese lieutenant and, to his horror, expected to help kill an entrapped and wounded American platoon.\u003c/p>\n\u003cp>“What you do to those men in the cave, will it shorten the war by a week, by a day, by an hour?” he pleads to a Japanese officer. ”How many must die before (we) are satisfied?”\u003c/p>\n\u003cp>[aside postid='pop_110650']For the show’s host and writer, Rod Serling, World War II was a trauma he would re-imagine often.\u003c/p>\n\u003cp>Serling, born 100 years ago this December, served in the 11th Airborne Division in the Philippines and received a Bronze Star for bravery and a Purple Heart for being wounded. He left the war with lasting physical and emotional scars and, like such fellow veterans as Joseph Heller and Kurt Vonnegut, with a will to find words for what had happened. He wrote war-related scripts for \u003cem>Playhouse 90\u003c/em> and other early television drama series and for at least two other \u003cem>Twilight Zone\u003c/em> stories, including one in which an Army lieutenant can predict who will die next by looking into his soldiers’ faces.\u003c/p>\n\u003cp>Serling’s \u003cem>First Squad, First Platoon\u003c/em>, a fictionalized take on the war that he worked on and set aside while attending Antioch College, has now been published for the first time. It appears this week in the new edition of \u003cem>The Strand Magazine\u003c/em>, which has unearthed pieces by Ernest Hemingway, Mark Twain, John Steinbeck and many others. \u003cem>First Squad, First Platoon\u003c/em> is broken into five vignettes, each dedicated to a fallen peer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Serling wrote this story in his early twenties, yet it carries a maturity beyond his years,” Strand managing editor Andrew Gulli writes. “It’s a powerful, unvarnished look at war in all its brutality — an unforgettable study of ordinary people in an extraordinarily hellish situation.”\u003c/p>\n\u003cp>Nicholas Parisi, author of the 2018 biography \u003cem>Rod Serling: His Life, Work, and Imagination\u003c/em>, helped edit the story. Daughters Jodi Serling and Anne Serling each contributed brief forewords. Jodi Serling wrote that the war “opened up dark horizons of terror” for her father and left him “gut-wrenching memories” that influenced his writing and awakened him at night, “sweating and screaming inconsolably.” Anne Serling told The Associated Press that \u003cem>First Squad, First Platoon\u003c/em> reminded her of his innocence when he joined the military.\u003c/p>\n\u003cp>[aside postid='pop_98580']“My reaction was particularly painful because when I read the story, I was writing a memoir about my dad and reading the letters he wrote from training camp before he was sent to the Pacific,” she said. “He was just barely 18 when he enlisted and sounded like a kid at summer camp in his letters to his parents. He was asking for gum, candy, underwear (because he didn’t like the GI ones). Like all of the kids we send into the horror of war — he didn’t know what was waiting on the other side.”\u003c/p>\n\u003cp>Amy Boyle Johnston, author of the 2015 book \u003cem>Unknown Serling\u003c/em>, found the story while looking through Serling’s papers at the University of Wisconsin. Serling, who died in 1975, had yet to start a family when he wrote \u003cem>First Squad, First Platoon\u003c/em>. But he was already thinking about the next generation, including a dedication to his yet-unborn children urging them to remember “a semblance of the feeling of a torn limb, a burnt patch of flesh” and “the hopeless emptiness of fatigue” were as much part of war as “uniforms and flags, honor and patriotism.”\u003c/p>\n\u003cp>Parasi says that \u003cem>First Squad, First Platoon\u003c/em> was an early sign of Serling’s ironic touch. One soldier is shot dead as he admires a wooden statuette of Jesus, and another — a true story — is killed by a food relief package.\u003c/p>\n\u003cp>[aside postid='pop_109055']In the opening section of \u003cem>First Squad\u003c/em>, Cpl. Melvin Levy is introduced as the squad’s resident comedian, whose usual barrage of jokes had been silenced by the ongoing starvation that threatened to kill them all. But as Levy slept weakly in the mud, dreaming of pastrami and other treats back home, he is startled by the sound of motors — airplanes clearly marked as American. Levy shouts with delight as more than 100 heavy boxes of K-rations fall from on high, fatally unaware that one will land right on him.\u003c/p>\n\u003cp>“The heavy crates were smashing into the earth close to their holes. Men started shouting in alarm,” Serling writes. “Levy just stood where he was, waving his arms and shouting. Sergeant Etherson pulled at him from behind, trying to get him down in a hole. 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"content": "\u003cdiv class=\"post-body\">\u003cp>“My reaction was particularly painful because when I read the story, I was writing a memoir about my dad and reading the letters he wrote from training camp before he was sent to the Pacific,” she said. “He was just barely 18 when he enlisted and sounded like a kid at summer camp in his letters to his parents. He was asking for gum, candy, underwear (because he didn’t like the GI ones). Like all of the kids we send into the horror of war — he didn’t know what was waiting on the other side.”\u003c/p>\n\u003cp>Amy Boyle Johnston, author of the 2015 book \u003cem>Unknown Serling\u003c/em>, found the story while looking through Serling’s papers at the University of Wisconsin. Serling, who died in 1975, had yet to start a family when he wrote \u003cem>First Squad, First Platoon\u003c/em>. But he was already thinking about the next generation, including a dedication to his yet-unborn children urging them to remember “a semblance of the feeling of a torn limb, a burnt patch of flesh” and “the hopeless emptiness of fatigue” were as much part of war as “uniforms and flags, honor and patriotism.”\u003c/p>\n\u003cp>Parasi says that \u003cem>First Squad, First Platoon\u003c/em> was an early sign of Serling’s ironic touch. One soldier is shot dead as he admires a wooden statuette of Jesus, and another — a true story — is killed by a food relief package.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>[aside postid='arts_13956737']Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bDGNwIM0r9g\u003c/p>\n\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>[aside postid='arts_13956944']The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in discordant times, which may be why the turbulent reign of King Henry VIII has enjoyed a revival over the last few years. We’ve had the gleefully trashy TV series \u003ca href=\"https://www.npr.org/2008/03/28/89182466/the-tudors-battles-with-the-truth\">\u003cem>The Tudors\u003c/em>\u003c/a>, the Tony-winning Broadway musical \u003ca href=\"https://www.npr.org/2022/09/01/1120101041/six-the-musical-tiny-desk-concert\">\u003cem>Six\u003c/em>\u003c/a> and — at the high end of achievement — \u003ca href=\"https://www.npr.org/2022/09/23/1124682328/hilary-mantel-author-wolf-hall-dies\">Hilary Mantel\u003c/a>‘s trilogy about Henry’s right-hand-man Thomas Cromwell.\u003c/p>\n\u003cp>Now comes the new Hulu mystery series \u003cem>Shardlake, \u003c/em>based on C.J. Sansom’s first novel in a series about a crime-solving lawyer in 16th-century England. As a rule, I hate historical mysteries and I feared that \u003cem>Shardlake\u003c/em> would serve up the Tudor era’s usual cavalcade of castles, codpieces, clopping horses and quasi-Shakespearean lingo — “Prithee, stop, sirrah!” But to my surprise this odd, beautifully acted show pulled me in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arthur Hughes stars as Matthew Shardlake, a bitingly intense London barrister known for his brains and for the curved spine that leads the world to undervalue him. One who sees his value is the king’s minister Thomas Cromwell — played by a domineering Sean Bean — a dangerous man who’s busy stripping the assets of the Catholic church and claiming them for the Crown.\u003c/p>\n\u003cp>As the action begins, Cromwell has just had his envoy murdered in a coastal monastery. He sends Shardlake to find the killer and, in the process, to find evidence of monkish malfeasance that will justify seizing the monastery’s holdings. To keep Shardlake on his toes, he sends along one of his henchmen, brash, impulsive Jack Barak. That’s Anthony Boyle, who plays John Wilkes Booth in the current series \u003ca href=\"https://www.kqed.org/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms\">\u003cem>Manhunt\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Because the monastery is filled with Catholic monks who hate the Protestant king, things are tricky there from the get-go. Not only do Shardlake and Jack keep being lied to, but the murders are just beginning. As they investigate, they both grow smitten with a servant — played by Ruby Ashbourne Serkis — and they start to develop one of those classic detective story partnerships between a brilliant misfit and an earthier, ordinary guy.\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/bDGNwIM0r9g'\n title='//www.youtube.com/embed/bDGNwIM0r9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, I don’t want to oversell \u003cem>Shardlake\u003c/em>. As a historical show, it lacks the sweeping grandeur of \u003ca href=\"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx\">\u003cem>Shogun\u003c/em>\u003c/a>, another period drama that reminds us that Protestants and Catholics were once at each other’s throats. Nor does it approach Mantel’s richly vibrant vision of Henry VIII’s England, with its divisions and hatreds and social climbing.\u003c/p>\n\u003cp>Yet it has a strong historical atmosphere, especially in showing how Shardlake and Jack find themselves squeezed by powerful forces around them. Both believe they’re doing the right thing in helping Cromwell seize Catholic wealth, thinking it should go to England’s countless poor people. At the same time, they come to realize that, in Cromwell, they’re working for an utterly ruthless politician, one who may have played a key role in setting up Anne Boleyn, whose beheading figures into the plot here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show’s finest moments lie in the byplay between its lead actors, played by two of Britain’s rising stars. As the cocky Jack — a lad risen from the streets and terrified of sinking back — Boyle deftly straddles the line between likable and not. You see why he’s been cast to star as a charismatic IRA leader in the upcoming TV adaptation of \u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Patrick Radden Keefe\u003c/a>‘s book \u003ca href=\"https://www.npr.org/2019/02/25/697727036/say-nothing-is-a-timely-warning-that-irelands-old-wounds-are-easily-opened\">\u003cem>Say Nothing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Jack’s extroversion pairs nicely with the tightly wound Shardlake, whose smile is almost a wince. Hughes was the first actor with a disability to ever play Richard III for the Royal Shakespeare Company — he was born with radial dysplasia affecting his right arm — and he doubtless understands Shardlake’s pride in the face of what some consider his physical imperfection. “I’m known for my gait,” Shardlake says. “It is I, and I embrace it.”\u003c/p>\n\u003cp>Such self-assertion is profoundly modern, and for all its Tudor trappings, \u003cem>Shardlake\u003c/em> is filled with present day resonances — not least in its portrait of Cromwell who claims to speak for the people but actually works on behalf of the elite. “The truth must be what we want it to be,” Cromwell declares, and though Shardlake knows this is \u003cem>un\u003c/em>-true, he also knows that saying so can get a man killed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shardlake’ is streaming now on Disney+ and Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV",
"headTitle": "‘Zillow Gone Wild’ Brings Wacky Real Estate Listings to HGTV | KQED",
"content": "\u003cp>The real estate social media space is packed with influencers focusing on specific niches like \u003ca href=\"https://www.instagram.com/luxurymansions__/?hl=en\">luxury mansions\u003c/a>, \u003ca href=\"https://www.instagram.com/midcenturyhome/?hl=en\">mid-century moderns\u003c/a> or \u003ca href=\"https://www.instagram.com/cheapoldhouses/?hl=en\">inexpensive yet promising fixer-uppers\u003c/a>.\u003c/p>\n\u003cp>Within this crowded universe\u003cem>, \u003c/em>\u003ca href=\"https://www.instagram.com/zillowgonewild/?hl=en\">\u003cem>Zillow Gone Wild\u003c/em>\u003c/a> is a place to go if you’re in the market for, say, a home in Kansas City, Mo., shaped \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7246469852041399594\">like a UFO\u003c/a>; a \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\">striking, angular residence\u003c/a> in Kalamazoo, Mich., designed in the late 1940s by Frank Lloyd Wright; or a recently built \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7158117998404832555\">cruise ship\u003c/a> with close to 3,000 bedrooms. (Yes, there is an \u003ca href=\"https://www.zillow.com/house/royal-caribbean/\">actual Zillow listing\u003c/a> for this property.)\u003c/p>\n\u003cp>“Waking up to an ocean view in the actual ocean is the new best way to wake up,” says Samir Mezrahi, \u003cem>Zillow Gone Wild\u003c/em>‘s creator, in his deadpan TikTok commentary on this particularly mind-boggling property listing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\" data-video-id=\"7348164791539846446\">\n\u003csection>\u003ca title=\"@zillowgonewild\" href=\"https://www.tiktok.com/@zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">@zillowgonewild\u003c/a> Frank Lloyd Wright house for sale in Kalamazoo, MI for under $1 million!! \u003ca title=\"franklloydwright\" href=\"https://www.tiktok.com/tag/franklloydwright?refer=embed\" target=\"_blank\" rel=\"noopener\">#franklloydwright\u003c/a> \u003ca title=\"zillowgonewild\" href=\"https://www.tiktok.com/tag/zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">#zillowgonewild\u003c/a> \u003ca title=\"realestate\" href=\"https://www.tiktok.com/tag/realestate?refer=embed\" target=\"_blank\" rel=\"noopener\">#realestate\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"♬ Epic Music(863502) - Draganov89\" href=\"https://www.tiktok.com/music/Epic-Music-863502-6873501791145691137?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Epic Music(863502) – Draganov89\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Mezrahi’s prominent account, which has several million followers across platforms, has now been spun off into an equally wild reality \u003ca href=\"https://www.hgtv.com/shows/zillow-gone-wild\">TV show\u003c/a>. The nine-episode series premiered on HGTV Friday, and is out now on Max.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As on social media, the \u003cem>Zillow Gone Wild\u003c/em> TV show is aimed at a general audience and focuses on homes that defy everyday expectations in some way — whether visible from the outside in the architecture, or hidden inside as part of the home decor.\u003c/p>\n\u003cp>[aside postid='arts_13956737']“It has to be something we’ve pretty much never seen before,” says Mezrahi, a former social media director at \u003cem>Buzzfeed\u003c/em>, in an interview with NPR.\u003c/p>\n\u003ch3>Setting a “wild” tone\u003c/h3>\n\u003cp>The first segment of the first episode sets the tone: Homeowner Andrew Flair shows off the converted U.S. military missile launch facility in York, Neb. The unusual property has very thick steel doors and no windows.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qQ6fx2LIbc\u003c/p>\n\u003cp>“It’s all underground, covered in concrete, and if, for some reason, a bomb goes off, you’ll be safe,” Flair says on the show.\u003c/p>\n\u003cp>And in episode three, homeowner Kitty Reign tours viewers around the \u003cem>Pirates of the Caribbean\u003c/em>-themed residence in Las Vegas she’s selling. This swashbuckler’s paradise comes with a decorative wooden helm (“Everybody plays with it!”) and a tavern (“Kind of our own little secret pirate nightclub!”)\u003c/p>\n\u003cp>Hosted by comedian Jack McBrayer, who played Kenneth in \u003cem>30 Rock\u003c/em>, the show features 24 homes from around the country either up for sale or recently sold. But only one of them will be crowned the country’s “wildest” at the end of the series, as assessed by HGTV executives. Viewers who correctly guess the winning home can enter a pool for the chance to win $25,000.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/103_zillow-gone-wild_ships-ahoy_interior_custom-f5c7b8593923a6ac670b75e13ac958fe69d06cc5.jpg?s=1200&c=75&f=jpeg\" alt=\"Two women in short dresses stand in the middle of a room that looks like a pirate-themed bar. They are talking to a white man, wearing basic t-shirt and blue jeans.\" width=\"1200\" height=\"848\">\u003cfigcaption class=\"wp-caption-text\">Kitty Reign and her wife, Jennifer, show host Jack McBrayer around their ‘Pirates of the Caribbean’-themed house, as seen on HGTV’s new series ‘Zillow Gone Wild.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The judging criteria include creativity, commitment to a concept or theme and a quality McBrayer describes as “wackadoo.”\u003c/p>\n\u003cp>“That special thing that sets this property apart,” says McBrayer on the show. “We reward impracticality.”\u003c/p>\n\u003ch3>The growth of an American pastime\u003c/h3>\n\u003cp>Ogling real estate listings on social media has become an enormously popular American pastime in recent years. \u003cem>Saturday Night Live\u003c/em> even did \u003ca href=\"https://www.youtube.com/watch?v=yEfsaXDX0UQ\">a skit\u003c/a> about the trend in 2021. (“The pleasure you once got from sex now comes from looking at other people’s houses.”)\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=yEfsaXDX0UQ&t=20s\u003c/p>\n\u003cp>Mezrahi, who’s based in New York, says he has long made a hobby of idly browsing Zillow. He started \u003cem>Zillow Gone Wild\u003c/em> as a side project in the fall of 2020, knowing it would probably catch on. Mezrahi initially launched it only on Instagram, but soon expanded his offering to Facebook, Twitter, TikTok and a newsletter.\u003c/p>\n\u003cp>[aside postid='arts_13952549']“It was, like, prime pandemic. Everyone’s working from home. Companies are saying you can live wherever you want,” Mezrahi says. “So people are moving, thinking about moving, or browsing Zillow just as a bored-on-your-phone thing. So I kind of felt like there was an audience of people out there that are also doing this.”\u003c/p>\n\u003cp>The rise of TV and online channels devoted to home buying and home improvement, together with the increasingly elaborate social media presence of individual real estate brokers promoting their listings, have further fed the trend.\u003c/p>\n\u003cp>“This is a time when a lot of people are thinking about where and how we want to live,” says Zillow’s home trends expert, Amanda Pendleton, in an interview with NPR. “And these social media accounts captured our imagination and redefined what a home can be.”\u003c/p>\n\u003ch3>“Wild” listings can be challenging for real estate brokers\u003c/h3>\n\u003cp>That “imagination capturing” quality is what makes \u003cem>Zillow Gone Wild\u003c/em> so compelling on TikTok and TV.\u003c/p>\n\u003cp>But when it comes to actually selling a property, eccentric architecture and festive home decor aren’t necessarily virtues.\u003c/p>\n\u003cp>“As a real estate broker, you kind of get nervous about that, because the resale value is not the greatest when you’re making it your own,” says San Francisco Bay Area-based realtor Ria Cotton in an interview with NPR. “It may not be liked by other people.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/jack-mcbrayer_zillow-gone-wild-39a4782504c66c17d993e2558052aad0bc9c8149.jpg?s=1200&c=75&f=jpeg\" alt=\"A white man smiling broadly stands on a spiral staircase with gold accents.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Host Jack McBrayer taking in the sights of the ‘Golden Saxophone House.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>While having a marketable property is preferable, Cotton admits the popularity of social media accounts like \u003cem>Zillow Gone Wild\u003c/em> shows there’s a growing appetite among homebuyers and potential homebuyers for the “wackadoo.”\u003c/p>\n\u003cp>“I think more and more people are kind of bored of the cookie-cutter way of doing things,” Cotton says.\u003c/p>\n\u003cp>Case in point: An unusual music-themed home in Berkeley, Calif., that Cotton recently brokered, featured in \u003cem>Zillow Gone Wild.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13952420']The facade of the “Saxophone House” is dominated by two massive, gold saxophone-shaped columns. On the TV show, new homeowner Adanté Pointer proudly shows off the gold treble clef ornaments on the balcony railings indoors.\u003c/p>\n\u003cp>“The gold accents really make it stand out,” Pointer says appreciatively.\u003c/p>\n\u003cp>The smooth jazz vibes and bling of the Saxophone House might not be for everyone. But Pointer says it’s perfect for him.\u003c/p>\n\u003cp>“I am an attorney, and oftentimes, people come to me to make a statement on their behalf,” he says on the show. “And when you look at the outside of this home, it’s definitely a statement piece.”\u003c/p>\n\u003cp>In an interview with NPR, TV show host McBrayer says if visiting all of the homes featured in the \u003cem>Zillow Gone Wild \u003c/em>TV series taught him anything, it’s that even the wildest of homes won’t sit empty forever.\u003c/p>\n\u003cp>“For every house out there that is just head-to-toe rainbow-colored, there is going to be a buyer. For every home that is attached to the underside of a bridge, there’s going to be a buyer,” McBrayer says. “There’s a lid for every pot.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Zillow Gone Wild’ premiered on HGTV on May 3 at 7:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The real estate social media space is packed with influencers focusing on specific niches like \u003ca href=\"https://www.instagram.com/luxurymansions__/?hl=en\">luxury mansions\u003c/a>, \u003ca href=\"https://www.instagram.com/midcenturyhome/?hl=en\">mid-century moderns\u003c/a> or \u003ca href=\"https://www.instagram.com/cheapoldhouses/?hl=en\">inexpensive yet promising fixer-uppers\u003c/a>.\u003c/p>\n\u003cp>Within this crowded universe\u003cem>, \u003c/em>\u003ca href=\"https://www.instagram.com/zillowgonewild/?hl=en\">\u003cem>Zillow Gone Wild\u003c/em>\u003c/a> is a place to go if you’re in the market for, say, a home in Kansas City, Mo., shaped \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7246469852041399594\">like a UFO\u003c/a>; a \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\">striking, angular residence\u003c/a> in Kalamazoo, Mich., designed in the late 1940s by Frank Lloyd Wright; or a recently built \u003ca href=\"https://www.tiktok.com/@zillowgonewild/video/7158117998404832555\">cruise ship\u003c/a> with close to 3,000 bedrooms. (Yes, there is an \u003ca href=\"https://www.zillow.com/house/royal-caribbean/\">actual Zillow listing\u003c/a> for this property.)\u003c/p>\n\u003cp>“Waking up to an ocean view in the actual ocean is the new best way to wake up,” says Samir Mezrahi, \u003cem>Zillow Gone Wild\u003c/em>‘s creator, in his deadpan TikTok commentary on this particularly mind-boggling property listing.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@zillowgonewild/video/7348164791539846446\" data-video-id=\"7348164791539846446\">\n\u003csection>\u003ca title=\"@zillowgonewild\" href=\"https://www.tiktok.com/@zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">@zillowgonewild\u003c/a> Frank Lloyd Wright house for sale in Kalamazoo, MI for under $1 million!! \u003ca title=\"franklloydwright\" href=\"https://www.tiktok.com/tag/franklloydwright?refer=embed\" target=\"_blank\" rel=\"noopener\">#franklloydwright\u003c/a> \u003ca title=\"zillowgonewild\" href=\"https://www.tiktok.com/tag/zillowgonewild?refer=embed\" target=\"_blank\" rel=\"noopener\">#zillowgonewild\u003c/a> \u003ca title=\"realestate\" href=\"https://www.tiktok.com/tag/realestate?refer=embed\" target=\"_blank\" rel=\"noopener\">#realestate\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"♬ Epic Music(863502) - Draganov89\" href=\"https://www.tiktok.com/music/Epic-Music-863502-6873501791145691137?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Epic Music(863502) – Draganov89\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mezrahi’s prominent account, which has several million followers across platforms, has now been spun off into an equally wild reality \u003ca href=\"https://www.hgtv.com/shows/zillow-gone-wild\">TV show\u003c/a>. The nine-episode series premiered on HGTV Friday, and is out now on Max.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It has to be something we’ve pretty much never seen before,” says Mezrahi, a former social media director at \u003cem>Buzzfeed\u003c/em>, in an interview with NPR.\u003c/p>\n\u003ch3>Setting a “wild” tone\u003c/h3>\n\u003cp>The first segment of the first episode sets the tone: Homeowner Andrew Flair shows off the converted U.S. military missile launch facility in York, Neb. The unusual property has very thick steel doors and no windows.\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/8qQ6fx2LIbc'\n title='//www.youtube.com/embed/8qQ6fx2LIbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s all underground, covered in concrete, and if, for some reason, a bomb goes off, you’ll be safe,” Flair says on the show.\u003c/p>\n\u003cp>And in episode three, homeowner Kitty Reign tours viewers around the \u003cem>Pirates of the Caribbean\u003c/em>-themed residence in Las Vegas she’s selling. This swashbuckler’s paradise comes with a decorative wooden helm (“Everybody plays with it!”) and a tavern (“Kind of our own little secret pirate nightclub!”)\u003c/p>\n\u003cp>Hosted by comedian Jack McBrayer, who played Kenneth in \u003cem>30 Rock\u003c/em>, the show features 24 homes from around the country either up for sale or recently sold. But only one of them will be crowned the country’s “wildest” at the end of the series, as assessed by HGTV executives. Viewers who correctly guess the winning home can enter a pool for the chance to win $25,000.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/103_zillow-gone-wild_ships-ahoy_interior_custom-f5c7b8593923a6ac670b75e13ac958fe69d06cc5.jpg?s=1200&c=75&f=jpeg\" alt=\"Two women in short dresses stand in the middle of a room that looks like a pirate-themed bar. They are talking to a white man, wearing basic t-shirt and blue jeans.\" width=\"1200\" height=\"848\">\u003cfigcaption class=\"wp-caption-text\">Kitty Reign and her wife, Jennifer, show host Jack McBrayer around their ‘Pirates of the Caribbean’-themed house, as seen on HGTV’s new series ‘Zillow Gone Wild.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>The judging criteria include creativity, commitment to a concept or theme and a quality McBrayer describes as “wackadoo.”\u003c/p>\n\u003cp>“That special thing that sets this property apart,” says McBrayer on the show. “We reward impracticality.”\u003c/p>\n\u003ch3>The growth of an American pastime\u003c/h3>\n\u003cp>Ogling real estate listings on social media has become an enormously popular American pastime in recent years. \u003cem>Saturday Night Live\u003c/em> even did \u003ca href=\"https://www.youtube.com/watch?v=yEfsaXDX0UQ\">a skit\u003c/a> about the trend in 2021. (“The pleasure you once got from sex now comes from looking at other people’s houses.”)\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/yEfsaXDX0UQ'\n title='//www.youtube.com/embed/yEfsaXDX0UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mezrahi, who’s based in New York, says he has long made a hobby of idly browsing Zillow. He started \u003cem>Zillow Gone Wild\u003c/em> as a side project in the fall of 2020, knowing it would probably catch on. Mezrahi initially launched it only on Instagram, but soon expanded his offering to Facebook, Twitter, TikTok and a newsletter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was, like, prime pandemic. Everyone’s working from home. Companies are saying you can live wherever you want,” Mezrahi says. “So people are moving, thinking about moving, or browsing Zillow just as a bored-on-your-phone thing. So I kind of felt like there was an audience of people out there that are also doing this.”\u003c/p>\n\u003cp>The rise of TV and online channels devoted to home buying and home improvement, together with the increasingly elaborate social media presence of individual real estate brokers promoting their listings, have further fed the trend.\u003c/p>\n\u003cp>“This is a time when a lot of people are thinking about where and how we want to live,” says Zillow’s home trends expert, Amanda Pendleton, in an interview with NPR. “And these social media accounts captured our imagination and redefined what a home can be.”\u003c/p>\n\u003ch3>“Wild” listings can be challenging for real estate brokers\u003c/h3>\n\u003cp>That “imagination capturing” quality is what makes \u003cem>Zillow Gone Wild\u003c/em> so compelling on TikTok and TV.\u003c/p>\n\u003cp>But when it comes to actually selling a property, eccentric architecture and festive home decor aren’t necessarily virtues.\u003c/p>\n\u003cp>“As a real estate broker, you kind of get nervous about that, because the resale value is not the greatest when you’re making it your own,” says San Francisco Bay Area-based realtor Ria Cotton in an interview with NPR. “It may not be liked by other people.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/02/jack-mcbrayer_zillow-gone-wild-39a4782504c66c17d993e2558052aad0bc9c8149.jpg?s=1200&c=75&f=jpeg\" alt=\"A white man smiling broadly stands on a spiral staircase with gold accents.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Host Jack McBrayer taking in the sights of the ‘Golden Saxophone House.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>While having a marketable property is preferable, Cotton admits the popularity of social media accounts like \u003cem>Zillow Gone Wild\u003c/em> shows there’s a growing appetite among homebuyers and potential homebuyers for the “wackadoo.”\u003c/p>\n\u003cp>“I think more and more people are kind of bored of the cookie-cutter way of doing things,” Cotton says.\u003c/p>\n\u003cp>Case in point: An unusual music-themed home in Berkeley, Calif., that Cotton recently brokered, featured in \u003cem>Zillow Gone Wild.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The facade of the “Saxophone House” is dominated by two massive, gold saxophone-shaped columns. On the TV show, new homeowner Adanté Pointer proudly shows off the gold treble clef ornaments on the balcony railings indoors.\u003c/p>\n\u003cp>“The gold accents really make it stand out,” Pointer says appreciatively.\u003c/p>\n\u003cp>The smooth jazz vibes and bling of the Saxophone House might not be for everyone. But Pointer says it’s perfect for him.\u003c/p>\n\u003cp>“I am an attorney, and oftentimes, people come to me to make a statement on their behalf,” he says on the show. “And when you look at the outside of this home, it’s definitely a statement piece.”\u003c/p>\n\u003cp>In an interview with NPR, TV show host McBrayer says if visiting all of the homes featured in the \u003cem>Zillow Gone Wild \u003c/em>TV series taught him anything, it’s that even the wildest of homes won’t sit empty forever.\u003c/p>\n\u003cp>“For every house out there that is just head-to-toe rainbow-colored, there is going to be a buyer. For every home that is attached to the underside of a bridge, there’s going to be a buyer,” McBrayer says. “There’s a lid for every pot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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