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"content": "\u003cp>The hapless spies and their boorish leader are back.\u003c/p>\n\u003cp>The third season of the Apple TV+ drama \u003cem>Slow Horses, \u003c/em>based on Mick Herron’s \u003cem>Slough House \u003c/em>novels\u003cem>,\u003c/em> debuts Nov. 29.\u003c/p>\n\u003cp>[aside postid='arts_13937598']Gary Oldman plays Jackson Lamb, the comically unpleasant leader of a gang of dejected British spies. He smokes and drinks on the job, needs a shower, eats junk and has flatulence issues which he seems to use strategically.\u003c/p>\n\u003cp>Lamb’s band of spooks became Slow Horses, as they’re called, after messing up their careers in a variety of mishaps, including botching a surveillance operation and leaving a top secret file on a train. They’ve messed up good and Lamb never lets them forget it.\u003c/p>\n\u003cp>“Working with you has been the lowest point in a disappointing career,” he tells them in a supposed pep talk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Despicable characters are more interesting to write about than kind, humane characters,” says Herron.\u003c/p>\n\u003cp>Lamb “has a lot of unpleasant habits, very poor personal hygiene and a tendency to be as rude as he possibly can to his subordinates,” Herron explains, “What we don’t know is how much of this he actually means.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HLVg_D1cznE\u003c/p>\n\u003cp>\u003cstrong>Oldman is a ‘constant wonder’\u003c/strong>\u003c/p>\n\u003cp>Herron says Gary Oldman called him before they started shooting the first season which debuted in the spring of 2022.\u003c/p>\n\u003cp>“He wanted to talk about what I could tell him about Lamb that wasn’t in the books,” Herron recalls. “And the fact is … anything that’s not in the books hasn’t happened as far as I’m concerned. So Gary in many ways had free rein to add his own bits of history to the character.\u003c/p>\n\u003cp>[aside postid='arts_13938187']“He likes to know what a character has in his fridge. He likes to know where characters went to school and what sort of childhood they had. And I’ve never written about any of that sort of thing. But Gary thinks about it when he’s delivering his performance, and it’s all part of the perfectly rounded spectacle that he brings to the screen.”\u003c/p>\n\u003cp>“He’s a constant wonder to me,” says \u003cem>Slow Horses\u003c/em> writer and executive producer Will Smith of Gary Oldman.\u003c/p>\n\u003cp>Smith says Herron’s take on the spy genre is refreshing — and a natural for TV — because his characters are so believable.\u003c/p>\n\u003cp>“People struggling with kind of relatable issues everyone goes through: divorce, grief, feeling they’re not in the right place in their careers. They hate their boss,” says Smith.\u003c/p>\n\u003cp>Critics have \u003ca href=\"https://www.npr.org/2022/03/31/1089680823/slow-horses-review-apple-tv\">raved\u003c/a> about \u003cem>Slow Horses\u003c/em>. The first two seasons were so successful, Apple TV+ ordered two more.\u003c/p>\n\u003cfigure id=\"attachment_13938664\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143.jpg\" alt=\"A slender white woman with a blonde bob stands at the bottom of a set of stone stairs. She is looking at an unkempt white man with long hair who is holding a brown envelope. The park they are standing in looks cold.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jackson Lamb (Gary Oldman), right, and MI5’s second in command Diana Taverner (Kristin Scott Thomas) are formidable adversaries who constantly try to outplay each other. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Surrounded by losers, misfits and boozers’\u003c/strong>\u003c/p>\n\u003cp>Another high-profile fan of the books is Mick Jagger who co-wrote \u003ca href=\"https://www.youtube.com/watch?v=tegw25qqbAs\">the theme song.\u003c/a> “I really enjoyed creating the theme track for \u003cem>Slow Horses \u003c/em>with Daniel Pemberton,” Jagger \u003ca href=\"https://www.instagram.com/p/CbzLPZ6jUDJ/\">writes\u003c/a> on Instagram. “I’ve read a lot of the books and was familiar with some of the more dark and unsavoury characters and knew the direction I wanted to take it…hope you enjoy it!”\u003c/p>\n\u003cp>Season 3 is based on \u003cem>Real Tigers\u003c/em>, Herron’s third novel in the \u003cem>Slough House \u003c/em>series. The villains are different but Lamb and his spies are still very much the underdogs.\u003c/p>\n\u003cfigure id=\"attachment_13938665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554.jpg\" alt=\"A young man wearing jeans and a T-shirt sits slouched in an office chair facing a young Black woman who is perched on a desk. Between them is computer equipment and a fan.\" width=\"1920\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-1536x959.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rosalind Eleazar and Christopher Chung play spies in Apple TV+’s ‘Slow Horses.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Fiction is full of heroes,” says Herron. “I’m not averse to adding to their number but with Lamb, I’m more interested in his failings than I am in his virtues.”\u003c/p>\n\u003cp>Lamb isn’t \u003cem>all\u003c/em> bluster. Herron adds that he might not have “a heart of gold” but he “does have a moral code.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for audio and digital by Rose Friedman.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gary+Oldman+had+%27free+rein%27+in+spy+thriller+%27Slow+Horses%27+%E2%80%94+now+back+for+Season+3&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Despicable characters are more interesting to write about than kind, humane characters,” says Herron.\u003c/p>\n\u003cp>Lamb “has a lot of unpleasant habits, very poor personal hygiene and a tendency to be as rude as he possibly can to his subordinates,” Herron explains, “What we don’t know is how much of this he actually means.”\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/HLVg_D1cznE'\n title='//www.youtube.com/embed/HLVg_D1cznE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oldman is a ‘constant wonder’\u003c/strong>\u003c/p>\n\u003cp>Herron says Gary Oldman called him before they started shooting the first season which debuted in the spring of 2022.\u003c/p>\n\u003cp>“He wanted to talk about what I could tell him about Lamb that wasn’t in the books,” Herron recalls. “And the fact is … anything that’s not in the books hasn’t happened as far as I’m concerned. So Gary in many ways had free rein to add his own bits of history to the character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He likes to know what a character has in his fridge. He likes to know where characters went to school and what sort of childhood they had. And I’ve never written about any of that sort of thing. But Gary thinks about it when he’s delivering his performance, and it’s all part of the perfectly rounded spectacle that he brings to the screen.”\u003c/p>\n\u003cp>“He’s a constant wonder to me,” says \u003cem>Slow Horses\u003c/em> writer and executive producer Will Smith of Gary Oldman.\u003c/p>\n\u003cp>Smith says Herron’s take on the spy genre is refreshing — and a natural for TV — because his characters are so believable.\u003c/p>\n\u003cp>“People struggling with kind of relatable issues everyone goes through: divorce, grief, feeling they’re not in the right place in their careers. They hate their boss,” says Smith.\u003c/p>\n\u003cp>Critics have \u003ca href=\"https://www.npr.org/2022/03/31/1089680823/slow-horses-review-apple-tv\">raved\u003c/a> about \u003cem>Slow Horses\u003c/em>. The first two seasons were so successful, Apple TV+ ordered two more.\u003c/p>\n\u003cfigure id=\"attachment_13938664\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143.jpg\" alt=\"A slender white woman with a blonde bob stands at the bottom of a set of stone stairs. She is looking at an unkempt white man with long hair who is holding a brown envelope. The park they are standing in looks cold.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_010604_custom-df019d45e9978f36baef2ed6abcbc61380856fdc-scaled-e1701296420143-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jackson Lamb (Gary Oldman), right, and MI5’s second in command Diana Taverner (Kristin Scott Thomas) are formidable adversaries who constantly try to outplay each other. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Surrounded by losers, misfits and boozers’\u003c/strong>\u003c/p>\n\u003cp>Another high-profile fan of the books is Mick Jagger who co-wrote \u003ca href=\"https://www.youtube.com/watch?v=tegw25qqbAs\">the theme song.\u003c/a> “I really enjoyed creating the theme track for \u003cem>Slow Horses \u003c/em>with Daniel Pemberton,” Jagger \u003ca href=\"https://www.instagram.com/p/CbzLPZ6jUDJ/\">writes\u003c/a> on Instagram. “I’ve read a lot of the books and was familiar with some of the more dark and unsavoury characters and knew the direction I wanted to take it…hope you enjoy it!”\u003c/p>\n\u003cp>Season 3 is based on \u003cem>Real Tigers\u003c/em>, Herron’s third novel in the \u003cem>Slough House \u003c/em>series. The villains are different but Lamb and his spies are still very much the underdogs.\u003c/p>\n\u003cfigure id=\"attachment_13938665\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554.jpg\" alt=\"A young man wearing jeans and a T-shirt sits slouched in an office chair facing a young Black woman who is perched on a desk. Between them is computer equipment and a fan.\" width=\"1920\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/slow_horses_photo_030204_custom-f1c8055f213bff6f1508f38dadc624f4d5542615-scaled-e1701296659554-1536x959.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rosalind Eleazar and Christopher Chung play spies in Apple TV+’s ‘Slow Horses.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Fiction is full of heroes,” says Herron. “I’m not averse to adding to their number but with Lamb, I’m more interested in his failings than I am in his virtues.”\u003c/p>\n\u003cp>Lamb isn’t \u003cem>all\u003c/em> bluster. Herron adds that he might not have “a heart of gold” but he “does have a moral code.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for audio and digital by Rose Friedman.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gary+Oldman+had+%27free+rein%27+in+spy+thriller+%27Slow+Horses%27+%E2%80%94+now+back+for+Season+3&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PBS Documentary Offers a Peek Into the Lives of Muslim Chaplains in US Military",
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"content": "\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>[aside postid='arts_13938450']In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BT_hfVEOew\u003c/p>\n\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>[aside postid='arts_13938247']That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>[aside postid='arts_13936153']She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>[aside postid='news_11967916']During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\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/_BT_hfVEOew'\n title='//www.youtube.com/embed/_BT_hfVEOew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up?",
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"content": "\u003cp>The 50\u003csup>th\u003c/sup> anniversary of the classic \u003cem>Peanuts\u003c/em> holiday special, \u003cem>A Charlie Brown Thanksgiving, \u003c/em>has arrived. These days, the show, which first aired on CBS in 1973, feels like a bittersweet relic from the era of the Vietnam War.\u003c/p>\n\u003cp>Its age creeps through the soft watercolors of its autumnal landscapes and in the tone of some characters. (“Sally, Thanksgiving is a very important holiday,” Linus drones in what we now commonly recognize as “mansplaining.”)\u003c/p>\n\u003cp>[aside postid='arts_13937608']Poor Charlie Brown, who wants to go to his grandmother’s for dinner, has to manage his bossy friend, Peppermint Patty. Today, many viewers celebrate the athletic, confident character as a beacon of non-normative girlhood; she is swaggering and subversive.\u003c/p>\n\u003cp>Peppermint Patty invites herself over to Charlie Brown’s for dinner, along with her very best friend, Marcie, and Franklin, the only Black character in \u003cem>Peanuts\u003c/em>. Franklin was added to the strip in 1968, in the immediate aftermath of the assassination of Dr. Martin Luther King Jr., at the suggestion of a schoolteacher. \u003cem>Peanuts\u003c/em> creator Charles Schulz later said at least one newspaper editor in the South balked at running comics that showed a Black child attending school along with the rest of the \u003cem>Peanuts\u003c/em> gang.\u003c/p>\n\u003cp>Schulz had very little to do with the animated television specials. During the dinner scene in \u003cem>A Charlie Brown Thanksgiving,\u003c/em> Franklin is seated alone in a sagging lawn chair at one side of the table. To our eyes today, it seems jarring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s so very easy to get offended or upset … but we have to remember that at that time, that actually represented progress,” said Robin Reed \u003ca href=\"https://www.msnbc.com/gibson-reiser/watch/lindsey-reiser-talks-to-the-voice-behind-franklin-126784581956\">in a 2021 MSNBC interview\u003c/a>. He voiced the character of Franklin when he was only 11. Reed said he’s still proud of the special and the character.\u003c/p>\n\u003cp>“I’m glad he’s at the table!” Bryant Keith Alexander told NPR. “Does it matter that he’s sitting in a lawn chair, isolated on one side of the table? Yeah, because that’s symbolic of the time. … His positionality at the table is secondary to the fact that he’s at the table.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>[aside postid='pop_7560']“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Poor Charlie Brown, who wants to go to his grandmother’s for dinner, has to manage his bossy friend, Peppermint Patty. Today, many viewers celebrate the athletic, confident character as a beacon of non-normative girlhood; she is swaggering and subversive.\u003c/p>\n\u003cp>Peppermint Patty invites herself over to Charlie Brown’s for dinner, along with her very best friend, Marcie, and Franklin, the only Black character in \u003cem>Peanuts\u003c/em>. Franklin was added to the strip in 1968, in the immediate aftermath of the assassination of Dr. Martin Luther King Jr., at the suggestion of a schoolteacher. \u003cem>Peanuts\u003c/em> creator Charles Schulz later said at least one newspaper editor in the South balked at running comics that showed a Black child attending school along with the rest of the \u003cem>Peanuts\u003c/em> gang.\u003c/p>\n\u003cp>Schulz had very little to do with the animated television specials. During the dinner scene in \u003cem>A Charlie Brown Thanksgiving,\u003c/em> Franklin is seated alone in a sagging lawn chair at one side of the table. To our eyes today, it seems jarring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s so very easy to get offended or upset … but we have to remember that at that time, that actually represented progress,” said Robin Reed \u003ca href=\"https://www.msnbc.com/gibson-reiser/watch/lindsey-reiser-talks-to-the-voice-behind-franklin-126784581956\">in a 2021 MSNBC interview\u003c/a>. He voiced the character of Franklin when he was only 11. Reed said he’s still proud of the special and the character.\u003c/p>\n\u003cp>“I’m glad he’s at the table!” Bryant Keith Alexander told NPR. “Does it matter that he’s sitting in a lawn chair, isolated on one side of the table? Yeah, because that’s symbolic of the time. … His positionality at the table is secondary to the fact that he’s at the table.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism",
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"content": "\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>[aside postid='arts_13934736']As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HMYLFQbyIu4\u003c/p>\n\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>[aside postid='arts_13931196']The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>[aside postid='arts_13935208']Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\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/HMYLFQbyIu4'\n title='//www.youtube.com/embed/HMYLFQbyIu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Crown’ Shines in Its Final Season — Just Remember It's Not the History Channel",
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"content": "\u003cp>\u003cem>(Be warned: this review discusses key details from the first four episodes of The Crown’s sixth and final season)\u003c/em>\u003c/p>\n\u003cp>From the opening scene in the first episode — with cars speeding down a Paris street moments before sounds of an off-screen crash — \u003cem>The Crown\u003c/em> makes plain that its sixth and final season will finally depict a seismic moment.\u003c/p>\n\u003cp>[aside postid='arts_13923613']Namely, the 1997 deaths of Diana, Princess of Wales, her companion Dodi Fayed, and their driver in a car accident while fleeing paparazzi.\u003c/p>\n\u003cp>Along the way, the season’s first four episodes deftly reflect the series’ ongoing examination of the tension between the royal family’s private lives and public duty.\u003c/p>\n\u003cp>Viewers see the struggle to manage shattering grief in a family dedicated to maintaining a stoic public presence, outlining how Diana’s demise pulled the British monarchy — especially Queen Elizabeth — into a more modern understanding of how they could connect with the people of England.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1weI6ICx-hg\u003c/p>\n\u003ch3>Documenting a historic relationship\u003c/h3>\n\u003cp>But before fully diving into the details of that fateful day, \u003cem>The Crown\u003c/em> flashes back to show her relationship evolve with Dodi Fayed, the son of billionaire Mohamed Al-Fayed. By the third episode, Diana — played with stunning allure and sensitivity by Elizabeth Debicki — admits a growing ambivalence about their romance, speaking by phone in a presumably private conversation with her therapist.\u003c/p>\n\u003cp>[aside postid='arts_13918461']The therapist, Susie Orbach, is shown suggesting that Diana might want to distance herself from Dodi, who the therapist says is caught in a difficult relationship with a domineering father.\u003c/p>\n\u003cp>“The risk is, one normalizes the abnormal and becomes accustomed to living in the madness,” Orbach says. “That’s when things really go wrong.”\u003c/p>\n\u003cp>Not too much foreshadowing there. But this is an example of a staple of \u003cem>The Crown\u003c/em>: Personal conversations shown in ways that may confuse viewers about how much of the moment they are watching has been invented or assumed.\u003c/p>\n\u003cfigure id=\"attachment_13938191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe\" alt=\"An older white woman's face close-up and in profile. Next to her is a younger white woman with blonde, cropped hair, looking pensive.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton as Queen Elizabeth and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Depicting a key moment from their last day\u003c/h3>\n\u003cp>That issue surfaces again in another key moment from the third episode (yet another spoiler alert that I’m about to mention an important detail).\u003c/p>\n\u003cp>The scene in question centers on whether Dodi proposed marriage to Diana on the day they died and how she reacts.\u003c/p>\n\u003cp>It’s a fascinating, well-told moment, buoyed by fantastic performances from Debicki and Khalid Abdalla, who plays Dodi. Abdalla renders Dodi as a sensitive man pressured by his father to marry Diana to elevate their family — nevertheless, close enough to her to speak frankly when she asks him what’s wrong with her life.\u003c/p>\n\u003cp>[aside postid='arts_13916622']“Look what you’ve managed to achieve, in the year since you’ve been divorced,” Dodi tells Diana. “A global anti-land mine campaign … raising millions for charity … and yet you’re still not satisfied. Stop being in such a mad hurry to find whatever it is you’ve been looking for.”\u003c/p>\n\u003cp>A representative for Mohamed Al-Fayed, who died in August at age 94,\u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/7182228.stm\"> has said publicly \u003c/a>in the past the two were engaged. More recently, \u003ca href=\"https://deadline.com/2023/11/the-crown-princess-diana-mohamed-dodi-fayed-relationship-netflix-1235612740/\">the representative denied \u003c/a>Al-Fayed pushed the couple together. But I asked longtime royal filmmaker Nick Bullen of True Royalty TV — a platform with loads of documentaries on the British monarchy — for his perspective. He told me that Diana had been hinting to friends that she was reconsidering their relationship.\u003c/p>\n\u003cp>“I think [the proposal] is probably artistic license,” Bullen said. “She definitely wasn’t in a place where she wanted to get married.”\u003c/p>\n\u003cp>Then I talked with Emily Burack, a news writer at \u003cem>Town & Country\u003c/em> who has extensively covered the royal family and \u003cem>The Crown\u003c/em>. She said that the show does flesh out Dodi’s story in a way that depicts him as more than just a wealthy playboy who died in a car next to Diana.\u003c/p>\n\u003cp>“It gives you a fuller portrait of Dodi as a person,” Burack said. “People only think of Dodi in his death. They never think about this fun summer he had with Diana or the person he was.”\u003c/p>\n\u003cp>Drawing distinctions between fact and fiction here may sound nitpicky. But their story could be important to people who anticipated a possibly historic union between an Egyptian man and the mother of a future King of England.\u003c/p>\n\u003cfigure id=\"attachment_13938189\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe\" alt=\"A man of Arabic descent in his thirties walks side by side with a tall, slender white woman with short blonde hair. They are smiling at each other.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Khalid Abdalla as Dodi Fayed and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Showing conflict over Diana’s funeral\u003c/h3>\n\u003cp>Both Bullen and Burack also said that another private moment shown in \u003cem>The Crown\u003c/em> likely did happen in some way: when then-Prince Charles, played by Dominic West, pushes a reluctant Queen Elizabeth to show grief over Diana’s death publicly and give her a public funeral.\u003c/p>\n\u003cp>“It’s always been hard for us to understand the connection that Diana has with people,” Charles tells his mother in an emotional scene. “But the fact that it’s inexplicable, shouldn’t lead us to deny it … I’ve seen it for myself. People taking to the streets. Not just here, all over the world … And they will expect us to show grief and compassion and for you to be mother to the nation.”\u003c/p>\n\u003cp>[aside postid='arts_13866072']There has already \u003ca href=\"https://www.radiotimes.com/tv/drama/the-crown-diana-ghost-scenes-newsupdate/\">been some criticism \u003c/a>of scenes which depict Diana appearing to both Charles and Queen Elizabeth to have conversations with them after her death. While it may seem as if her ghost were visiting them — Dodi is also shown having a post-death conversation with his father — for me, the scenes played as if these people were working through their feelings by imagining conversations with Diana and Dodi that they were no longer able to have.\u003c/p>\n\u003cp>These first four episodes of the season — the final six will drop next month, concluding the series — also provide another chance to re-evaluate Diana’s legacy, just as the world is re-considering how many famous women were treated in the 1990s, from Britney Spears to Tina Turner.\u003c/p>\n\u003cp>As a critic, I have always been uneasy with how \u003cem>The Crown\u003c/em> shifts seamlessly from highly accurate depictions to invented moments. And last season, which featured a detailed portrayal of how Diana and Charles’ marriage fell apart, \u003ca href=\"https://www.npr.org/2022/11/08/1135076997/netflixs-new-season-of-the-crown-debuts-at-a-controversial-moment\">was criticized by\u003c/a> actress Dame Judi Dench and former British Prime Minister John Major.\u003c/p>\n\u003cp>Still, there is no denying these episodes of \u003cem>The Crown\u003c/em> are incredibly well done, fleshing out an important moment for the family in a creative, telling way.\u003c/p>\n\u003cp>Just so long as viewers remember they’re watching a TV drama, not a program on the History channel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Crown%27+shines+in+its+final+season+%E2%80%94+just+remember+it%27s+not+the+History+Channel+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>The first four episodes of the sixth season of ‘The Crown’ are streaming on Netflix now. The final six episodes of the series will arrive on the channel on Dec. 14, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Namely, the 1997 deaths of Diana, Princess of Wales, her companion Dodi Fayed, and their driver in a car accident while fleeing paparazzi.\u003c/p>\n\u003cp>Along the way, the season’s first four episodes deftly reflect the series’ ongoing examination of the tension between the royal family’s private lives and public duty.\u003c/p>\n\u003cp>Viewers see the struggle to manage shattering grief in a family dedicated to maintaining a stoic public presence, outlining how Diana’s demise pulled the British monarchy — especially Queen Elizabeth — into a more modern understanding of how they could connect with the people of England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The therapist, Susie Orbach, is shown suggesting that Diana might want to distance herself from Dodi, who the therapist says is caught in a difficult relationship with a domineering father.\u003c/p>\n\u003cp>“The risk is, one normalizes the abnormal and becomes accustomed to living in the madness,” Orbach says. “That’s when things really go wrong.”\u003c/p>\n\u003cp>Not too much foreshadowing there. But this is an example of a staple of \u003cem>The Crown\u003c/em>: Personal conversations shown in ways that may confuse viewers about how much of the moment they are watching has been invented or assumed.\u003c/p>\n\u003cfigure id=\"attachment_13938191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe\" alt=\"An older white woman's face close-up and in profile. Next to her is a younger white woman with blonde, cropped hair, looking pensive.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton as Queen Elizabeth and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Depicting a key moment from their last day\u003c/h3>\n\u003cp>That issue surfaces again in another key moment from the third episode (yet another spoiler alert that I’m about to mention an important detail).\u003c/p>\n\u003cp>The scene in question centers on whether Dodi proposed marriage to Diana on the day they died and how she reacts.\u003c/p>\n\u003cp>It’s a fascinating, well-told moment, buoyed by fantastic performances from Debicki and Khalid Abdalla, who plays Dodi. Abdalla renders Dodi as a sensitive man pressured by his father to marry Diana to elevate their family — nevertheless, close enough to her to speak frankly when she asks him what’s wrong with her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Look what you’ve managed to achieve, in the year since you’ve been divorced,” Dodi tells Diana. “A global anti-land mine campaign … raising millions for charity … and yet you’re still not satisfied. Stop being in such a mad hurry to find whatever it is you’ve been looking for.”\u003c/p>\n\u003cp>A representative for Mohamed Al-Fayed, who died in August at age 94,\u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/7182228.stm\"> has said publicly \u003c/a>in the past the two were engaged. More recently, \u003ca href=\"https://deadline.com/2023/11/the-crown-princess-diana-mohamed-dodi-fayed-relationship-netflix-1235612740/\">the representative denied \u003c/a>Al-Fayed pushed the couple together. But I asked longtime royal filmmaker Nick Bullen of True Royalty TV — a platform with loads of documentaries on the British monarchy — for his perspective. He told me that Diana had been hinting to friends that she was reconsidering their relationship.\u003c/p>\n\u003cp>“I think [the proposal] is probably artistic license,” Bullen said. “She definitely wasn’t in a place where she wanted to get married.”\u003c/p>\n\u003cp>Then I talked with Emily Burack, a news writer at \u003cem>Town & Country\u003c/em> who has extensively covered the royal family and \u003cem>The Crown\u003c/em>. She said that the show does flesh out Dodi’s story in a way that depicts him as more than just a wealthy playboy who died in a car next to Diana.\u003c/p>\n\u003cp>“It gives you a fuller portrait of Dodi as a person,” Burack said. “People only think of Dodi in his death. They never think about this fun summer he had with Diana or the person he was.”\u003c/p>\n\u003cp>Drawing distinctions between fact and fiction here may sound nitpicky. But their story could be important to people who anticipated a possibly historic union between an Egyptian man and the mother of a future King of England.\u003c/p>\n\u003cfigure id=\"attachment_13938189\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe\" alt=\"A man of Arabic descent in his thirties walks side by side with a tall, slender white woman with short blonde hair. They are smiling at each other.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Khalid Abdalla as Dodi Fayed and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Showing conflict over Diana’s funeral\u003c/h3>\n\u003cp>Both Bullen and Burack also said that another private moment shown in \u003cem>The Crown\u003c/em> likely did happen in some way: when then-Prince Charles, played by Dominic West, pushes a reluctant Queen Elizabeth to show grief over Diana’s death publicly and give her a public funeral.\u003c/p>\n\u003cp>“It’s always been hard for us to understand the connection that Diana has with people,” Charles tells his mother in an emotional scene. “But the fact that it’s inexplicable, shouldn’t lead us to deny it … I’ve seen it for myself. People taking to the streets. Not just here, all over the world … And they will expect us to show grief and compassion and for you to be mother to the nation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There has already \u003ca href=\"https://www.radiotimes.com/tv/drama/the-crown-diana-ghost-scenes-newsupdate/\">been some criticism \u003c/a>of scenes which depict Diana appearing to both Charles and Queen Elizabeth to have conversations with them after her death. While it may seem as if her ghost were visiting them — Dodi is also shown having a post-death conversation with his father — for me, the scenes played as if these people were working through their feelings by imagining conversations with Diana and Dodi that they were no longer able to have.\u003c/p>\n\u003cp>These first four episodes of the season — the final six will drop next month, concluding the series — also provide another chance to re-evaluate Diana’s legacy, just as the world is re-considering how many famous women were treated in the 1990s, from Britney Spears to Tina Turner.\u003c/p>\n\u003cp>As a critic, I have always been uneasy with how \u003cem>The Crown\u003c/em> shifts seamlessly from highly accurate depictions to invented moments. And last season, which featured a detailed portrayal of how Diana and Charles’ marriage fell apart, \u003ca href=\"https://www.npr.org/2022/11/08/1135076997/netflixs-new-season-of-the-crown-debuts-at-a-controversial-moment\">was criticized by\u003c/a> actress Dame Judi Dench and former British Prime Minister John Major.\u003c/p>\n\u003cp>Still, there is no denying these episodes of \u003cem>The Crown\u003c/em> are incredibly well done, fleshing out an important moment for the family in a creative, telling way.\u003c/p>\n\u003cp>Just so long as viewers remember they’re watching a TV drama, not a program on the History channel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Crown%27+shines+in+its+final+season+%E2%80%94+just+remember+it%27s+not+the+History+Channel+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>The first four episodes of the sixth season of ‘The Crown’ are streaming on Netflix now. The final six episodes of the series will arrive on the channel on Dec. 14, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With a Boost From John Oliver, Pūteketeke Soars to First in New Zealand Bird Contest",
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"content": "\u003cp>A threatened bird called the pūteketeke landed the top spot in a New Zealand bird contest after comedian and talk show host \u003ca href=\"https://www.kqed.org/arts/tag/john-oliver\">John Oliver\u003c/a> unleashed a zany, worldwide campaign on its behalf.\u003c/p>\n\u003cp>[aside postid='arts_13927659']The New Zealand conservation organization Forest & Bird held the contest for \u003ca href=\"https://www.birdoftheyear.org.nz/\">Bird of the Century\u003c/a>, asking people in the country and abroad to vote for their favorite threatened species among dozens of contestants.\u003c/p>\n\u003cp>The \u003cem>Last Week Tonight\u003c/em> host said his staff asked Forest & Bird if they could campaign for the pūteketeke, a native water bird with a distinctive black-brown frill around its neck, and the group agreed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6GF6Gd7wrlk\u003c/p>\n\u003cp>“I don’t think they understood quite what they were unleashing when they said, ‘Go for it,’ ” said Oliver, dressed as a pūteketeke, \u003ca href=\"https://www.youtube.com/watch?v=uVE1hBzHn3s\">during an appearance\u003c/a> on \u003cem>The Tonight Show\u003c/em> with Jimmy Fallon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To boost support for the species, which he called “magnificent” and “charming,” Oliver did a \u003cem>Last Week Tonight\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=6GF6Gd7wrlk\">segment\u003c/a> hyping the pūteketeke and took out billboard ads for the bird in New Zealand, the U.S., India, Japan and elsewhere.\u003c/p>\n\u003cp>“This is what democracy is all about: America interfering in foreign elections,” he joked on his show.\u003c/p>\n\u003cp>The meddling paid off.\u003c/p>\n\u003cp>[aside postid='arts_13911108']Forest & Bird \u003ca href=\"https://www.forestandbird.org.nz/resources/bird-century-winner-announced-puteketeke-pandemonium-prevails\">announced\u003c/a> Wednesday that the pūteketeke won the contest with a whopping 290,374 votes.\u003c/p>\n\u003cp>By comparison, the North Island brown kiwi secured second place with only 12,904 votes.\u003c/p>\n\u003cp>“We promised controversy but didn’t quite expect this!” Forest & Bird Chief Executive Nicola Toki said in a statement. “We’re stoked to see the outpouring of passion, creativity and debate that this campaign has ignited.”\u003c/p>\n\u003cp>Even New Zealand’s incoming Prime Minister Christopher Luxon applauded the talk show host for vaulting the pūteketeke to victory.\u003c/p>\n\u003cp>“Congratulations to campaign manager @iamjohnoliver and all those who gave their support to the Pūteketeke,” Luxon said \u003ca href=\"https://twitter.com/chrisluxonmp/status/1724509183704494367\">in a tweet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13938125\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png\" alt='A couple walks past a bus billboard depicting a parody of Lord of the Rings featuring unusual birds. \"Lord of the wings,\" it reads. \"One bird to rule them all.\"' width=\"1296\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-768x507.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">A billboard at a bus stop promotes comedian John Oliver’s campaign for the pūteketeke to be named New Zealand’s Bird of the Century on Saturday in Wellington. \u003ccite>(Nick Perry/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also known as the Australasian crested grebe, the pūteketeke has a pointy black beak and a long white neck and is known for its strange behaviors.\u003c/p>\n\u003cp>The species boasts a bizarre \u003ca href=\"https://www.youtube.com/watch?v=98ceB5SPRXI\">mating ritual\u003c/a>, \u003ca href=\"https://nzbirdsonline.org.nz/species/australasian-crested-grebe\">carries around its young\u003c/a> on its back in the water and has been known to \u003ca href=\"https://apnews.com/article/new-zealand-bird-contest-john-oliver-211ed05e6101f58e5e61a282f1e9b9cc\">eat its own feathers\u003c/a> before vomiting them back up.\u003c/p>\n\u003cp>[aside postid='arts_13912438']“Pūteketeke began as an outside contender for Bird of the Century but was catapulted to the top spot thanks to its unique looks, adorable parenting style, and propensity for puking,” Toki said.\u003c/p>\n\u003cp>According to Forest & Bird, there are fewer than 3,000 of the birds across New Zealand and Australia, but that number was even lower a few decades ago and has been steadily increasing thanks in part to conservation efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group noted that more than 80% of the native birds in New Zealand are on the threatened species list.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+a+boost+from+John+Oliver%2C+p%C5%ABteketeke+soars+to+first+in+New+Zealand+bird+contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The New Zealand conservation organization Forest & Bird held the contest for \u003ca href=\"https://www.birdoftheyear.org.nz/\">Bird of the Century\u003c/a>, asking people in the country and abroad to vote for their favorite threatened species among dozens of contestants.\u003c/p>\n\u003cp>The \u003cem>Last Week Tonight\u003c/em> host said his staff asked Forest & Bird if they could campaign for the pūteketeke, a native water bird with a distinctive black-brown frill around its neck, and the group agreed.\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/6GF6Gd7wrlk'\n title='//www.youtube.com/embed/6GF6Gd7wrlk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I don’t think they understood quite what they were unleashing when they said, ‘Go for it,’ ” said Oliver, dressed as a pūteketeke, \u003ca href=\"https://www.youtube.com/watch?v=uVE1hBzHn3s\">during an appearance\u003c/a> on \u003cem>The Tonight Show\u003c/em> with Jimmy Fallon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To boost support for the species, which he called “magnificent” and “charming,” Oliver did a \u003cem>Last Week Tonight\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=6GF6Gd7wrlk\">segment\u003c/a> hyping the pūteketeke and took out billboard ads for the bird in New Zealand, the U.S., India, Japan and elsewhere.\u003c/p>\n\u003cp>“This is what democracy is all about: America interfering in foreign elections,” he joked on his show.\u003c/p>\n\u003cp>The meddling paid off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Forest & Bird \u003ca href=\"https://www.forestandbird.org.nz/resources/bird-century-winner-announced-puteketeke-pandemonium-prevails\">announced\u003c/a> Wednesday that the pūteketeke won the contest with a whopping 290,374 votes.\u003c/p>\n\u003cp>By comparison, the North Island brown kiwi secured second place with only 12,904 votes.\u003c/p>\n\u003cp>“We promised controversy but didn’t quite expect this!” Forest & Bird Chief Executive Nicola Toki said in a statement. “We’re stoked to see the outpouring of passion, creativity and debate that this campaign has ignited.”\u003c/p>\n\u003cp>Even New Zealand’s incoming Prime Minister Christopher Luxon applauded the talk show host for vaulting the pūteketeke to victory.\u003c/p>\n\u003cp>“Congratulations to campaign manager @iamjohnoliver and all those who gave their support to the Pūteketeke,” Luxon said \u003ca href=\"https://twitter.com/chrisluxonmp/status/1724509183704494367\">in a tweet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13938125\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png\" alt='A couple walks past a bus billboard depicting a parody of Lord of the Rings featuring unusual birds. \"Lord of the wings,\" it reads. \"One bird to rule them all.\"' width=\"1296\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-768x507.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">A billboard at a bus stop promotes comedian John Oliver’s campaign for the pūteketeke to be named New Zealand’s Bird of the Century on Saturday in Wellington. \u003ccite>(Nick Perry/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also known as the Australasian crested grebe, the pūteketeke has a pointy black beak and a long white neck and is known for its strange behaviors.\u003c/p>\n\u003cp>The species boasts a bizarre \u003ca href=\"https://www.youtube.com/watch?v=98ceB5SPRXI\">mating ritual\u003c/a>, \u003ca href=\"https://nzbirdsonline.org.nz/species/australasian-crested-grebe\">carries around its young\u003c/a> on its back in the water and has been known to \u003ca href=\"https://apnews.com/article/new-zealand-bird-contest-john-oliver-211ed05e6101f58e5e61a282f1e9b9cc\">eat its own feathers\u003c/a> before vomiting them back up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pūteketeke began as an outside contender for Bird of the Century but was catapulted to the top spot thanks to its unique looks, adorable parenting style, and propensity for puking,” Toki said.\u003c/p>\n\u003cp>According to Forest & Bird, there are fewer than 3,000 of the birds across New Zealand and Australia, but that number was even lower a few decades ago and has been steadily increasing thanks in part to conservation efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group noted that more than 80% of the native birds in New Zealand are on the threatened species list.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+a+boost+from+John+Oliver%2C+p%C5%ABteketeke+soars+to+first+in+New+Zealand+bird+contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8K4DMOMQ/\u003c/p>\n\u003cp>“Oh boy this one has cut deep… Having to say goodbye to our Matty has been an insane wave of emotions that I’ve never experienced before,” Aniston’s post read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kudrow became the fifth \u003cem>Friends\u003c/em> star to pay personal tribute to Perry amid the wave of mourning.\u003c/p>\n\u003cp>“Thank you for making me laugh so hard at something you said, that my muscles ached, and tears poured down my face EVERY DAY,” she said in an \u003ca href=\"https://www.instagram.com/p/CzrZeG5P0n6/\">Instagram post\u003c/a>. “Thank you for the best 10 years a person gets to have.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CzrZeG5P0n6/\u003c/p>\n\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8sxqrU0c/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CzohLcIRk3Y/\">LeBlanc posted Tuesday\u003c/a>: “It was an honor to share the stage with you and to call you my friend. I will always smile when I think of you and I’ll never forget you. Never.” His post included one candid shot of the cast all hugging on set.\u003c/p>\n\u003cp>https://www.instagram.com/p/CzohLcIRk3Y/\u003c/p>\n\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>[aside postid='pop_108851']“In this scene, before we started rolling, he whispered a funny line for me to say,” Cox posted. “He often did things like that. He was funny and he was kind.”\u003c/p>\n\u003cp>“I am so grateful for every moment I had with you Matty and I miss you every day,” she wrote.\u003c/p>\n\u003cp>Most of the posts references how sweet, funny and thoughtful Perry was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LeBlanc ended his note with a bit of comedy, writing: “Spread your wings and fly brother you’re finally free. Much love. And I guess you’re keeping the 20 bucks you owe me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight",
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"content": "\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>[aside postid='arts_34570']As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vs1epO_zLG8\u003c/p>\n\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>[aside postid='arts_13937525']In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13937499']Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The new Michael Fassbender movie is a terse, minimalist thriller in the cool, cold-hearted tradition of ‘Le Samouraï.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\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/vs1epO_zLG8'\n title='//www.youtube.com/embed/vs1epO_zLG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal",
"headTitle": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal | KQED",
"content": "\u003cp>I really, \u003cem>really \u003c/em>wanted to love Paramount+’s new series \u003cem>Lawmen: Bass Reeves\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13937572']Not just because it stars magnetic British actor David Oyelowo, in a series he reportedly \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/lawmen-bass-reeves-first-look-david-oyelowo\">worked more than eight years to get made\u003c/a>. But because, as a Black man who loves Westerns, I have been complaining for decades about the need for someone to make a great TV show or film about Reeves, a real person who was among the first African Americans \u003ca href=\"https://www.washingtonpost.com/entertainment/tv/2023/11/02/bass-reeves-tv-history/\">to serve as a deputy U.S. marshal \u003c/a>west of the Mississippi.\u003c/p>\n\u003cp>Unfortunately, after watching four episodes of \u003cem>Bass Reeves\u003c/em>, I fear this is not the series I have been waiting for. Because it spends so much time trying to be a Modern Western Epic, it forgets about why we watch shows like this in the first place: to see a charismatic, take-charge fighter corral the bad guys and save the day.\u003c/p>\n\u003cp>And his victory feels all the sweeter because, this time, the hero is a Black man.\u003c/p>\n\u003ch3>Once enslaved, Reeves becomes a free hero\u003c/h3>\n\u003cp>Instead, \u003cem>Bass Reeves\u003c/em> kicks off with the lead character in servitude during the Civil War — he’s enslaved by an officer in the Confederate Army. On the battlefield, Reeves kills another Black man on the Confederate side who tries to run away from a brutal battle with Union forces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, when his master cheats at a card game where the prize was to be his freedom, Reeves beats him down and has to flee. (This is a recurring theme which also doesn’t get much explanation — how was Reeves able to develop the habit of beating up white men who violate his strong moral code, given how oppressed most Black people were at the time?)\u003c/p>\n\u003cp>What follows is an over-long preamble setting up Reeves’ legend — we see him living with a Native American family and becoming a failed farmer before actually joining law enforcement in episode three — delaying his appearance as the galvanizing force for justice that made him a western legend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x3XFsQEoJZI\u003c/p>\n\u003cp>Oyelowo plays Reeves as a taciturn man of few words. Which means a lot of screen time goes to know-it-all white guys around him constantly telling the camera who they are, played by some of the best character actors in the business — like Shea Whigham as the Confederate officer who once owned Reeves, Dennis Quaid as a marshal who enlists his help to catch a fugitive and Donald Sutherland as the judge who eventually hires him to be a marshal, too.\u003c/p>\n\u003cp>[aside postid='arts_13933946']But the central tension in a story about a Black lawman in the Old West should be the fact that the law was so often used as a cudgel to unfairly oppress people who weren’t white. And while we see Reeves advocate for treating non-white criminals with more understanding — one of them even becomes his backup partner — we don’t see him questioning the basic structure of it all, at least in the first four episodes.\u003c/p>\n\u003cp>And the show doesn’t do much to explain why a formerly enslaved man would even agree to enforce a justice system built by white men — though his devout Christianity is often shown to be the source of his strong moral code.\u003c/p>\n\u003ch3>Challenging the cowboy myth with casting\u003c/h3>\n\u003cfigure id=\"attachment_13937600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe\" alt=\"Two cowboys face each other on a wooden porch. One, a white man with a sheriff's badge, points in the face of the other, a Black man.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves and Dennis Quaid as Deputy U.S. Marshal Sherrill Lynn. \u003ccite>(Lauren Smith/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>America loves tales where it is the hero of its own story. It’s one reason why Westerns are often so popular — traditionally, they’ve offered unambiguous stories about the triumph of heroes, the depravity of villains and the virtue of brave (usually white) cowboys and settlers populating the American west.\u003c/p>\n\u003cp>But placing a non-white person, especially a Black person, in the center of that narrative for a TV show or film changes everything. Because suddenly, storytellers must account for slavery, racism, oppression and the way in which many average white people back then simply assumed that Black people were not fully people — a decidedly non-heroic posture for 21\u003csup>st\u003c/sup> century audiences.\u003c/p>\n\u003cp>It’s easier to ignore that reality — which is probably why Hollywood produced two \u003cem>Wyatt Earp\u003c/em> films in the mid 1990s, but has taken decades to tackle the story of a Black western hero who \u003ca href=\"https://www.texasmonthly.com/being-texan/the-resurrection-of-bass-reeves/\">may have inspired the fictional Lone Ranger\u003c/a> character.\u003c/p>\n\u003cp>[aside postid='arts_13936637']Oyelowo wound up teaming with \u003cem>Yellowstone\u003c/em> creator Taylor Sheridan to get \u003cem>Bass Reeves\u003c/em> made, which may explain its strained attempts to build his story into an epic tale and its awkwardness around race. (Despite its success,\u003cem> Yellowstone\u003c/em>‘s focus on validating the virtue of the white Dutton family’s possession of land in the west has always made its attempts to feature Native American characters feel perfunctory.)\u003c/p>\n\u003cp>One trap the series falls into is showing Reeves as a singular superman — he is the only Black character whose skills, smarts and moral code elevate him above the oppression most of his people faced, even after the Civil War ends. He walks through the front door of saloons without question. He challenges white men, punching Quaid’s character in one contentious moment, without fear of being lynched.\u003c/p>\n\u003cp>Watch too much of this and you get the sense that all anyone like Reeves had to do to escape oppression back then was to shoot straight, be honest and beat up anyone who disrespected them. When Sutherland’s character makes him a marshal, they don’t even have a conversation over whether the public will accept a Black man arresting white people — which feels a tad unrealistic.\u003c/p>\n\u003cfigure id=\"attachment_13937601\" class=\"wp-caption aligncenter\" style=\"max-width: 1602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe\" alt=\"A tintype image featuring a Black cowboy wearing a sheriff's badge sitting down and, standing at his side, a Black woman wearing a white dress.\" width=\"1602\" height=\"2136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe 1602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1536x2048.jpe 1536w\" sizes=\"(max-width: 1602px) 100vw, 1602px\">\u003cfigcaption class=\"wp-caption-text\">Lauren E. Banks as Jennie Reeves and David Oyelewo as Bass Reeves. \u003ccite>(Sarah Coulter/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve only seen four of the show’s episodes, so with any luck, some of these issues will be addressed in future installments. And given how white families are centered in all the other series in Sheridan’s \u003cem>Yellowstone\u003c/em>-inspired TV universe, it is a pleasure to see an intact Black family at the heart of this one.\u003c/p>\n\u003cp>But this is just the first season of an anthology series which will go on to profile other lawmen. And its struggle to remain entertaining while also telling Reeves’ complicated story shows there’s still a ways to go before we get true equality in the world of heroes from the Old West.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bass+Reeves+deserves+better+%E2%80%93+%27Lawmen%27+doesn%27t+do+justice+to+the+Black+U.S.+marshal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Lawmen: Bass Reeves’ begins streaming on Nov. 5 on Paramount+.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As a Black critic who loves Westerns, Eric Deggans really wanted to like this show. Instead, he found historical inaccuracies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I really, \u003cem>really \u003c/em>wanted to love Paramount+’s new series \u003cem>Lawmen: Bass Reeves\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not just because it stars magnetic British actor David Oyelowo, in a series he reportedly \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/lawmen-bass-reeves-first-look-david-oyelowo\">worked more than eight years to get made\u003c/a>. But because, as a Black man who loves Westerns, I have been complaining for decades about the need for someone to make a great TV show or film about Reeves, a real person who was among the first African Americans \u003ca href=\"https://www.washingtonpost.com/entertainment/tv/2023/11/02/bass-reeves-tv-history/\">to serve as a deputy U.S. marshal \u003c/a>west of the Mississippi.\u003c/p>\n\u003cp>Unfortunately, after watching four episodes of \u003cem>Bass Reeves\u003c/em>, I fear this is not the series I have been waiting for. Because it spends so much time trying to be a Modern Western Epic, it forgets about why we watch shows like this in the first place: to see a charismatic, take-charge fighter corral the bad guys and save the day.\u003c/p>\n\u003cp>And his victory feels all the sweeter because, this time, the hero is a Black man.\u003c/p>\n\u003ch3>Once enslaved, Reeves becomes a free hero\u003c/h3>\n\u003cp>Instead, \u003cem>Bass Reeves\u003c/em> kicks off with the lead character in servitude during the Civil War — he’s enslaved by an officer in the Confederate Army. On the battlefield, Reeves kills another Black man on the Confederate side who tries to run away from a brutal battle with Union forces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, when his master cheats at a card game where the prize was to be his freedom, Reeves beats him down and has to flee. (This is a recurring theme which also doesn’t get much explanation — how was Reeves able to develop the habit of beating up white men who violate his strong moral code, given how oppressed most Black people were at the time?)\u003c/p>\n\u003cp>What follows is an over-long preamble setting up Reeves’ legend — we see him living with a Native American family and becoming a failed farmer before actually joining law enforcement in episode three — delaying his appearance as the galvanizing force for justice that made him a western legend.\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/x3XFsQEoJZI'\n title='//www.youtube.com/embed/x3XFsQEoJZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oyelowo plays Reeves as a taciturn man of few words. Which means a lot of screen time goes to know-it-all white guys around him constantly telling the camera who they are, played by some of the best character actors in the business — like Shea Whigham as the Confederate officer who once owned Reeves, Dennis Quaid as a marshal who enlists his help to catch a fugitive and Donald Sutherland as the judge who eventually hires him to be a marshal, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the central tension in a story about a Black lawman in the Old West should be the fact that the law was so often used as a cudgel to unfairly oppress people who weren’t white. And while we see Reeves advocate for treating non-white criminals with more understanding — one of them even becomes his backup partner — we don’t see him questioning the basic structure of it all, at least in the first four episodes.\u003c/p>\n\u003cp>And the show doesn’t do much to explain why a formerly enslaved man would even agree to enforce a justice system built by white men — though his devout Christianity is often shown to be the source of his strong moral code.\u003c/p>\n\u003ch3>Challenging the cowboy myth with casting\u003c/h3>\n\u003cfigure id=\"attachment_13937600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe\" alt=\"Two cowboys face each other on a wooden porch. One, a white man with a sheriff's badge, points in the face of the other, a Black man.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves and Dennis Quaid as Deputy U.S. Marshal Sherrill Lynn. \u003ccite>(Lauren Smith/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>America loves tales where it is the hero of its own story. It’s one reason why Westerns are often so popular — traditionally, they’ve offered unambiguous stories about the triumph of heroes, the depravity of villains and the virtue of brave (usually white) cowboys and settlers populating the American west.\u003c/p>\n\u003cp>But placing a non-white person, especially a Black person, in the center of that narrative for a TV show or film changes everything. Because suddenly, storytellers must account for slavery, racism, oppression and the way in which many average white people back then simply assumed that Black people were not fully people — a decidedly non-heroic posture for 21\u003csup>st\u003c/sup> century audiences.\u003c/p>\n\u003cp>It’s easier to ignore that reality — which is probably why Hollywood produced two \u003cem>Wyatt Earp\u003c/em> films in the mid 1990s, but has taken decades to tackle the story of a Black western hero who \u003ca href=\"https://www.texasmonthly.com/being-texan/the-resurrection-of-bass-reeves/\">may have inspired the fictional Lone Ranger\u003c/a> character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oyelowo wound up teaming with \u003cem>Yellowstone\u003c/em> creator Taylor Sheridan to get \u003cem>Bass Reeves\u003c/em> made, which may explain its strained attempts to build his story into an epic tale and its awkwardness around race. (Despite its success,\u003cem> Yellowstone\u003c/em>‘s focus on validating the virtue of the white Dutton family’s possession of land in the west has always made its attempts to feature Native American characters feel perfunctory.)\u003c/p>\n\u003cp>One trap the series falls into is showing Reeves as a singular superman — he is the only Black character whose skills, smarts and moral code elevate him above the oppression most of his people faced, even after the Civil War ends. He walks through the front door of saloons without question. He challenges white men, punching Quaid’s character in one contentious moment, without fear of being lynched.\u003c/p>\n\u003cp>Watch too much of this and you get the sense that all anyone like Reeves had to do to escape oppression back then was to shoot straight, be honest and beat up anyone who disrespected them. When Sutherland’s character makes him a marshal, they don’t even have a conversation over whether the public will accept a Black man arresting white people — which feels a tad unrealistic.\u003c/p>\n\u003cfigure id=\"attachment_13937601\" class=\"wp-caption aligncenter\" style=\"max-width: 1602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe\" alt=\"A tintype image featuring a Black cowboy wearing a sheriff's badge sitting down and, standing at his side, a Black woman wearing a white dress.\" width=\"1602\" height=\"2136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe 1602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1536x2048.jpe 1536w\" sizes=\"(max-width: 1602px) 100vw, 1602px\">\u003cfigcaption class=\"wp-caption-text\">Lauren E. Banks as Jennie Reeves and David Oyelewo as Bass Reeves. \u003ccite>(Sarah Coulter/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve only seen four of the show’s episodes, so with any luck, some of these issues will be addressed in future installments. And given how white families are centered in all the other series in Sheridan’s \u003cem>Yellowstone\u003c/em>-inspired TV universe, it is a pleasure to see an intact Black family at the heart of this one.\u003c/p>\n\u003cp>But this is just the first season of an anthology series which will go on to profile other lawmen. And its struggle to remain entertaining while also telling Reeves’ complicated story shows there’s still a ways to go before we get true equality in the world of heroes from the Old West.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bass+Reeves+deserves+better+%E2%80%93+%27Lawmen%27+doesn%27t+do+justice+to+the+Black+U.S.+marshal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At a time when so much of what we see on television is devoted to ongoing coverage of war, you may not want to seek out a scripted drama about war — even long-ago World War II, and even a story based on Anthony Doerr’s very popular novel. But \u003ca href=\"https://www.npr.org/2014/05/10/310459898/a-fractured-tale-of-time-war-and-a-really-big-diamond\">\u003cem>All the Light We Cannot See, \u003c/em>\u003c/a>the new four-hour Netflix miniseries, is worthwhile and heartening. In the midst of the darkness and horror of war, the “Light” in the title refers to hope.\u003c/p>\n\u003cp>[aside postid='arts_13936820']\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdE-JvKqpBQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>[aside postid='arts_13933946']This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"title": "Matthew Perry, Emmy-Nominated ‘Friends’ Star, Has Died at 54, Reports Say",
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"content": "\u003cp>Matthew Perry, who starred as sarcastic-but-sweet Chandler Bing in the hit series \u003cem>Friends\u003c/em>, has died. He was 54.\u003c/p>\n\u003cp>The Emmy-nominated actor was found dead of an apparent drowning at his Los Angeles home Saturday, according to the \u003cem>Los Angeles Times\u003c/em> and celebrity website TMZ, which was the first to report the news. Both outlets cited unnamed sources confirming Perry’s death.\u003c/p>\n\u003cp>[aside postid='pop_108851']His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13897888']Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A \u003ca href=\"https://www.scholarsandstorytellers.com/css-teens-and-screens-2023\">new study\u003c/a> about young Americans’ entertainment consumption habits shows that Generation Z is far more interested in seeing stories of platonic relationships on screen than those featuring sex and romance.\u003c/p>\n\u003cp>[aside postid='pop_107900']More than half of the 1,500 young people who participated in the University of California Los Angeles’s (UCLA) Center for Scholars and Storytellers “Teens and Screens” survey said they want to see more content focused on friendships. Nearly 40% said they particularly want to see more non-romantic relationships or asexual characters on screen. The majority of respondents said they felt that romance in media is overused. (The study in its entirety included youth aged 10-24, but questions relating specifically to sex and romance on screen were only asked of a subset aged 13-24.)\u003c/p>\n\u003cp>The research team is labeling this trend as “nomance.”\u003c/p>\n\u003cp>“When there’s media with too much sex, me and my friends often feel uncomfortable,” said survey respondent Ana, age 16, in a video released by UCLA to accompany the study.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aivCR4dex9s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My friends are I maybe awkwardly bear through it,” said 20-year-old respondent Joseph.\u003c/p>\n\u003cp>The research team said Gen Z’s chaste entertainment preferences stem from a craving for feel-good character relationships following the isolation of the pandemic years.\u003c/p>\n\u003cp>“Young people are feeling a lack of close friendships, a separation from their community, and a sense that their digital citizen identity has superseded their sense of belonging in the real world,” wrote researchers Stephanie Rivas-Lara and Hiral Kotecha in \u003ca href=\"https://www.scholarsandstorytellers.com/blog/a-note-from-the-gen-z-authors-of-the-2023-teens-and-screens-report\">an essay\u003c/a> expanding on the survey results.\u003c/p>\n\u003cp>[aside postid='pop_78777']“The core essence of kids and teens will always be the same — from camaraderie to curiosity and a sense of adventure — and it appears that somewhere along the way, this may have been forgotten in storytelling.”\u003c/p>\n\u003cp>The UCLA research team did not ask the surveyed youth if they sought out sexual or pornographic content outside the realm of TV, movies and social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not that young people aren’t interested in TV, movies and other media with sexual content, it’s that they want to see more and different types of relationships,” said UCLA Center for Scholars and Storytellers founder Yalda Uhls. “We did not specifically ask about porn so I couldn’t say for sure. But one theory could be that the prevalence of porn could be a reason why they feel they want to see less sexual content in traditional media.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+%27nomance%27%3A+Study+finds+teens+want+less+sex+in+their+TV+and+movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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