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"content": "\u003cp>In 1970, a journalist named Tony Hillerman launched a series of crime novels featuring two Navajo cops who work for the tribal police on a reservation in New Mexico. The books sold well, earned great reviews, won prizes and led to Hillerman being honored in 1991 by the Navajo tribal council.\u003c/p>\n\u003cp>But our cultural standards have changed profoundly, and one wonders whether these mysteries would even be published now, let alone receive so much acclaim. After all, Hillerman was a white outsider whose books today would likely face charges of cultural appropriation.\u003c/p>\n\u003cp>[aside postid='arts_13932077']Yet as it stands, the Joe Leaphorn and Jim Chee novels, as they’re known, are very enjoyable books, as well as valuable intellectual property. So you get why they’re being turned into the TV series \u003cem>Dark Winds,\u003c/em> whose second season can be seen on AMC and AMC+.\u003c/p>\n\u003cp>Produced by \u003ca href=\"https://www.kqed.org/forum/904301000/robert-redford\">Robert Redford\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894806/george-r-r-martin-signs-new-five-year-deal-with-hbo-and-hbo-max\">George R.R. Martin\u003c/a> among others, \u003cem>Dark Winds\u003c/em> retools and modernizes Hillerman’s conception. Set amidst the fiercely beautiful New Mexico landscape of the early 1970s, this entertaining series stars, is written by, and is largely directed by Native Americans. They have enlarged the women’s roles and treat Navajo culture not as sociology but as lived experience.\u003c/p>\n\u003cp>The terrific Zahn McClarnon stars as the honorably intense Lt. Joe Leaphorn, who — along with his nurse wife, Emma, played by Deanna Allison — is still reeling from the death of their son in an explosion. As coiled as a rattler, albeit a righteous one, Joe spends most of his time with two younger investigators. There’s officer Bernadette Manuelito, known as Bern (Jessica Matten), who fears her future is limited in the hardscrabble Navajo world. And there’s Jim Chee (Kiowa Gordon), who worked for the FBI in Season 1 but, feeling used by them, has become a private eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season begins with a fatal bombing outside a medical center that injures Emma. Joe suspects the bomber might be the guy who killed his son, and with Bern at his side, begins a relentless pursuit of the killer. Meanwhile Jim is being hired by a slippery blonde, played by Jeri Ryan, to find a box of personal effects that was stolen from her home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2dGW5q-5Cfg\u003c/p>\n\u003cp>Naturally, these investigations overlap, and soon the three are dealing with a uranium tycoon, assorted dead bodies, mountainside shootouts and life and death treks through the desert, not to mention a religious cult known, ominously enough, as People of Darkness.\u003c/p>\n\u003cp>In adapting Hillerman’s work, the show’s creators keep the bones of his ’70s material, but they also want to go beyond doing just another police drama and capture truths about Navajo life. These aims don’t fully mesh. A tad old-fashioned, the series lacks the contemporary snap of \u003ca href=\"https://www.npr.org/2022/09/19/1123452609/reservation-dogs-sterlin-harjo-native-stories\">\u003cem>Reservation Dogs\u003c/em>\u003c/a>\u003cem>, \u003c/em>a better and more freewheeling show about Native Americans that owes nothing to 50-year-old mystery novels. In that series, whose third season begins next week, McClarnon shines as an amiably superstitious cop who’s vastly more relaxed — and arguably more modern — than staid Joe Leaphorn.\u003c/p>\n\u003cp>[aside postid='arts_13931888']Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\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=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like nearly all crime shows, \u003cem>Dark Winds\u003c/em> has a plot that bends toward the predictably formulaic — if you can’t guess the villain, you haven’t been paying attention. The show’s true interest lies in its characters and their world — a Navajo society that is as financially strapped as it is spiritually rich, that confronts overt racism and government paternalism, that has its women forcibly sterilized and its sons drafted for Vietnam, and that leaves its members stuck between a fractured Navajo culture and the white culture that did the fracturing.\u003c/p>\n\u003cp>Just as Bern must decide whether to abandon the reservation she loves to seek a bigger future in the white world, Jim — who sports a comically huge-collared ’70s shirt — seeks a way of using his investigative skills without being sucked into being a fed or tribal cop. The show’s best scenes are the most personal ones — like Joe and Bern discussing whether she’d be better off working for the Border Patrol or Joe dealing with his dad, a former tribal cop who’s furious that his son got a college education and then didn’t escape, but wound up doing the same job he did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dark Winds\u003c/em> is a solidly enjoyable crime drama, but in the end, it isn’t really about our heroes uncovering the killer’s identity. It’s about the ways in which they’re searching for their own.\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=Back+for+Season+2%2C+%27Dark+Winds%27+is+a+cop+drama+steeped+in+Navajo+culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Reubens, Who Played Pee-Wee Herman, Dies of Cancer at 70",
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"content": "\u003cp>Paul Reubens, who for years portrayed the young-at-heart character of Pee-wee Herman, has died after a private battle with cancer. He was 70.\u003c/p>\n\u003cp>Reubens died Sunday night after a six-year struggle with cancer that he did not make public, his publicist said in a statement.\u003c/p>\n\u003cp>“Please accept my apology for not going public with what I’ve been facing the last six years,” Reubens said in \u003ca href=\"https://www.instagram.com/p/CvXme4ZxAR0/?img_index=2\">a statement released with the announcement of his death\u003c/a>. “I have always felt a huge amount of love and respect from my friends, fans and supporters. I have loved you all so much and enjoyed making art for you.”\u003c/p>\n\u003cp>[aside postID='arts_13874995']Reubens made his name in the 1980s with the fun-loving character of Pee-wee Herman, which brought ostentatious camp to Saturday morning TV and the movie theater screen. The character with his too-tight gray suit, white chunky loafers and red bow tie was best known for the film \u003cem>Pee-wee’s Big Adventure\u003c/em> and the TV series \u003cem>Pee-wee’s Playhouse\u003c/em>.\u003c/p>\n\u003cp>Herman created Pee-wee when he was part of the Los Angeles improv group The Groundlings in the late 1970s. The live \u003cem>Pee-wee Herman Show\u003c/em> debuted at a Los Angeles theater in 1981 and was a success with both kids during matinees and adults at a midnight show. HBO would air the show as a special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reubens took Pee-wee to the big screen in 1985’s \u003cem>Pee-wee’s Big Adventure\u003c/em>. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, \u003cem>The Bicycle Thief\u003c/em>. The film was directed by Tim Burton and co-written by Phil Hartman of \u003cem>Saturday Night Live\u003c/em>, and sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.\u003c/p>\n\u003cfigure id=\"attachment_13932424\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-563956909.jpg\" alt=\"\" width=\"1024\" height=\"700\" class=\"size-full wp-image-13932424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-768x525.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Publicity still from ‘Pee Wee’s Playhouse,’ CBS TV’s comedy starring Paul Reubens and S. Epatha Merkerson, 1986. \u003ccite>(John Kisch Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sequel followed three years later in the less well-received \u003cem>Big Top Pee-wee\u003c/em>, in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s \u003cem>Pee-wee’s Big Holiday\u003c/em>, for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.\u003c/p>\n\u003cp>His television series, \u003cem>Pee-wee’s Playhouse\u003c/em>, ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.\u003c/p>\n\u003cp>Both silly and subversive and championing nonconformity, the Pee-wee universe was a surreal place, populated by things such as a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.\u003c/p>\n\u003cp>“It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.”\u003c/p>\n\u003cp>“The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline and Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reubens took Pee-wee to the big screen in 1985’s \u003cem>Pee-wee’s Big Adventure\u003c/em>. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, \u003cem>The Bicycle Thief\u003c/em>. The film was directed by Tim Burton and co-written by Phil Hartman of \u003cem>Saturday Night Live\u003c/em>, and sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.\u003c/p>\n\u003cfigure id=\"attachment_13932424\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-563956909.jpg\" alt=\"\" width=\"1024\" height=\"700\" class=\"size-full wp-image-13932424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-768x525.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Publicity still from ‘Pee Wee’s Playhouse,’ CBS TV’s comedy starring Paul Reubens and S. Epatha Merkerson, 1986. \u003ccite>(John Kisch Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sequel followed three years later in the less well-received \u003cem>Big Top Pee-wee\u003c/em>, in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s \u003cem>Pee-wee’s Big Holiday\u003c/em>, for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.\u003c/p>\n\u003cp>His television series, \u003cem>Pee-wee’s Playhouse\u003c/em>, ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.\u003c/p>\n\u003cp>Both silly and subversive and championing nonconformity, the Pee-wee universe was a surreal place, populated by things such as a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.\u003c/p>\n\u003cp>“It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.”\u003c/p>\n\u003cp>“The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline and Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Striking Actors Take to the Internet to Show Off Their Paltry Residual Checks",
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"content": "\u003cp>One of the demands that actors and screenwriters are making in trying to renegotiate their contracts with Hollywood studios is greater residual payments, and several people in the entertainment industry have come forward to share what those residual checks look like.\u003c/p>\n\u003cp>Mandy Moore, who starred as matriarch Rebecca Pearson in NBC’s \u003cem>This Is Us\u003c/em>, said she received streaming residual checks for a penny once and 81 cents another time.\u003c/p>\n\u003cp>“So you have to, like, let them add up for a while before you go deposit them at the bank,” she said in an interview while on the picket line.\u003c/p>\n\u003cp>Residuals are payments made over the long term to actors and other theatrical workers when a TV show or movie is rerun or aired after its original release.\u003c/p>\n\u003cp>Kamil McFadden, who starred on three seasons of Disney’s \u003cem>K.C. Undercover\u003c/em>, tweeted a screen recording of his residuals, several of which had negative dollar amounts. He said his net income from the list was $2.77.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Kamil_McFadden/status/1679546658219245569\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/Cu90ofIALBP/\">Instagram video\u003c/a>, William Stanford Davis, who plays Mr. Johnson on the ABC sitcom \u003cem>Abbott Elementary\u003c/em>, showed a residual check for 5 cents.\u003c/p>\n\u003cp>“That’s what they think of us as actors,” he said. “This is why we’re on strike.”\u003c/p>\n\u003cp>Jana Schmieding, who played Bev on FX’s \u003cem>Reservation Dogs\u003c/em>, said she gets a 3-cent residual every quarter for the show being streamed on Hulu.\u003c/p>\n\u003cp>https://twitter.com/janaunplgd/status/1680733201726320642\u003c/p>\n\u003cp>“Listen, I’m an actor. I don’t want a yacht. But I’d love to be able to save for retirement,” she tweeted.\u003c/p>\n\u003cp>The Writers Guild of America is currently on the 13th week of its strike, while actors with the union SAG-AFTRA are on their second week. Both are striking against the Alliance of Motion Picture and Television Producers (AMPTP). (Note: Many NPR employees are members of SAG-AFTRA, though journalists work under a different contract than the Hollywood actors.)\u003c/p>\n\u003cp>[aside postid='arts_13928702']Writers and actors are demanding better wages, fair use of artificial intelligence and better contributions to health care and retirement.\u003c/p>\n\u003cp>The AMPTP did not immediately respond to a request for comment, but in a document titled “\u003ca href=\"https://press.amptp.org/sites/labor.amptp.org/files/AMPTP_SAG-AFTRA%20Chart.pdf\">What SAG-AFTRA Failed to Mention\u003c/a>,” issued last week, it said that in its negotiations with SAG-AFTRA, it offered a more than $1 billion increase in wages, residuals and pension and health care contributions over a three-year period.\u003c/p>\n\u003cp>In the document, the AMPTP says it offered a 22% increase in residuals for high-budget SVOD (subscription video on demand) programs from Hulu, Disney+, Netflix and Amazon Prime. It said it also presented a 76% increase in foreign residuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA also asked\u003c/a> for revenue sharing, which means actors would get a fixed residual and also a separate residual tied to the amount of money a show brought in once it hit streaming platforms.\u003c/p>\n\u003cp>[aside postid='arts_13931850']The AMPTP rejected that proposal and asked SAG-AFTRA to remove it from negotiations, calling it “completely illogical,” as the companies that produce a program are not entitled to any revenue from streaming and receive only a licensing fee, it said.\u003c/p>\n\u003cp>“The Union is proposing that performers share in the rewards of a successful show, without bearing any of the risk … The Union proposes to ‘share’ in success, but not in failure,” it said. “That is not sharing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA said\u003c/a> it additionally asked for an 11% increase in general wages in the first year of the new contract and a 4% increase in each of the second and third years but was met with a proposal of 5% in the first year, 4% in the second year and 3.5% in the third.\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=Actors+take+to+the+internet+to+show+their+residual+checks%2C+with+some+in+the+negative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/Cu90ofIALBP/\">Instagram video\u003c/a>, William Stanford Davis, who plays Mr. Johnson on the ABC sitcom \u003cem>Abbott Elementary\u003c/em>, showed a residual check for 5 cents.\u003c/p>\n\u003cp>“That’s what they think of us as actors,” he said. “This is why we’re on strike.”\u003c/p>\n\u003cp>Jana Schmieding, who played Bev on FX’s \u003cem>Reservation Dogs\u003c/em>, said she gets a 3-cent residual every quarter for the show being streamed on Hulu.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Listen, I’m an actor. I don’t want a yacht. But I’d love to be able to save for retirement,” she tweeted.\u003c/p>\n\u003cp>The Writers Guild of America is currently on the 13th week of its strike, while actors with the union SAG-AFTRA are on their second week. Both are striking against the Alliance of Motion Picture and Television Producers (AMPTP). (Note: Many NPR employees are members of SAG-AFTRA, though journalists work under a different contract than the Hollywood actors.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Writers and actors are demanding better wages, fair use of artificial intelligence and better contributions to health care and retirement.\u003c/p>\n\u003cp>The AMPTP did not immediately respond to a request for comment, but in a document titled “\u003ca href=\"https://press.amptp.org/sites/labor.amptp.org/files/AMPTP_SAG-AFTRA%20Chart.pdf\">What SAG-AFTRA Failed to Mention\u003c/a>,” issued last week, it said that in its negotiations with SAG-AFTRA, it offered a more than $1 billion increase in wages, residuals and pension and health care contributions over a three-year period.\u003c/p>\n\u003cp>In the document, the AMPTP says it offered a 22% increase in residuals for high-budget SVOD (subscription video on demand) programs from Hulu, Disney+, Netflix and Amazon Prime. It said it also presented a 76% increase in foreign residuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA also asked\u003c/a> for revenue sharing, which means actors would get a fixed residual and also a separate residual tied to the amount of money a show brought in once it hit streaming platforms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The AMPTP rejected that proposal and asked SAG-AFTRA to remove it from negotiations, calling it “completely illogical,” as the companies that produce a program are not entitled to any revenue from streaming and receive only a licensing fee, it said.\u003c/p>\n\u003cp>“The Union is proposing that performers share in the rewards of a successful show, without bearing any of the risk … The Union proposes to ‘share’ in success, but not in failure,” it said. “That is not sharing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA said\u003c/a> it additionally asked for an 11% increase in general wages in the first year of the new contract and a 4% increase in each of the second and third years but was met with a proposal of 5% in the first year, 4% in the second year and 3.5% in the third.\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=Actors+take+to+the+internet+to+show+their+residual+checks%2C+with+some+in+the+negative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Issa Rae Offers Aspiring Female Directors a Chance to Shine on ‘Project Greenlight’ Reboot",
"headTitle": "Issa Rae Offers Aspiring Female Directors a Chance to Shine on ‘Project Greenlight’ Reboot | KQED",
"content": "\u003cp>From Issa Rae’s perspective, there’s plenty of talented female filmmakers willing to work. However, she knows most haven’t been afforded the same support as their male counterparts.\u003c/p>\n\u003cp>[aside postid='pop_17048']Now, Rae feels compelled to create a supportive platform for aspiring women directors through the reboot series \u003cem>Project Greenlight: A New Generation\u003c/em>, which premiered this month on Max. She brought back the Ben Affleck and Matt Damon series that debuted in 2001 on HBO about unproven filmmakers directing a feature-length movie. It was canceled 14 years later after a controversial fourth season, which included \u003ca href=\"https://www.youtube.com/results?search_query=matt+damon+effie+brown\">a heated discussion between Damon and producer Effie Brown over diversity\u003c/a>.\u003c/p>\n\u003cp>This time, Rae puts a spotlight on the next generation of women who are tasked to direct a full-length film too.\u003c/p>\n\u003cp>“The series shows that there are a lot of women out there who are interested. With proper resources and given a chance, they can absolutely deliver,” Rae said in interview before the actor’s strike. She is a mentor in the series alongside actor Kumail Nanjiani and \u003cem>The Woman King\u003c/em> director Gina Prince-Bythewood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W00grJNOIVo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rae witnessed Greta Gerwig direct the big budget \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em> film\u003c/a>, which had 2023’s biggest opening. \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">Gerwig shattered the first weekend records for a film directed by a woman\u003c/a>. The \u003cem>Insecure\u003c/em> creator appeared as President Barbie in the movie starring Margot Robbie and Ryan Gosling.\u003c/p>\n\u003cp>“I saw it even while promoting \u003cem>Barbie\u003c/em>,” Rae said. “I’m working with a director who’s one of six to get a $100-million budget. Six women. It’s an industry-wide issue where there are limitations for the opportunities that women get. I think this series shines a light on a very small area that needs improvement.”\u003c/p>\n\u003cp>[aside postid='arts_13931981']Rae said the idea to revive the series was originally presented to her by Montrel McKay, who is featured in show and serves as the president of development & production at her Hoorae Media production company. After the company approached Max with the idea to highlight first-time female directors, she said the streaming service was “enthusiastic” in what she calls the easiest greenlight from them.\u003c/p>\n\u003cp>Rae and company filtered through 10 finalists before selecting Meko Winbush, a writer-director who mostly had experience making trailers and short films. The 10-episode series pulls back the curtain on the entire filmmaking process that shows the challenges each team faces while guiding Winbush — who is a Black woman — into making a successful film project.\u003c/p>\n\u003cp>Prince-Bythewood said it was important for the series to specifically highlight female directors, who weren’t hardly featured — if at all — in the original series.\u003c/p>\n\u003cp>“I used to love the show. I used to watch every season. And there was such a normalcy to the winners always being ‘white men.’ I don’t even remember a person of color even being in the running. I don’t remember a woman,” she said. “I didn’t even question it back then, which is crazy. Being a part of it now, this reboot is way more reflective of what the industry is and needs to be.”\u003c/p>\n\u003cfigure id=\"attachment_13932091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg\" alt=\"Two Black women with shoulder length wavy hair stand close together, smiling, on a red carpet. The woman on the left wears a gold velvet suit and white shirt and clutches an award statue. The woman on the right wearing a Black suit.\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Prince-Bythewood and Viola Davis, star of ‘The Woman King,’ attend the 2023 ‘ESSENCE’ Black Women in Hollywood Awards in LA. \u003ccite>(Robin L Marshall/Getty Images for ESSENCE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the process, Winbush was under constant pressure and struggled at times to execute her vision. She had less than 20 days to direct the science fiction thriller called \u003cem>Gray Matter\u003c/em>.\u003c/p>\n\u003cp>The cameras rolled from pre-production along with casting through principal photography and post-production.\u003c/p>\n\u003cp>“Women aren’t given a chance to direct genre movies,” said Rae, who initially had some reservations about selecting Winbush. “In hindsight, it’s ambitious to try to make a genre movie in 18 days with a very limited budget. But I give props to Meko for doing just that. This is a hard experience to do with a camera in your face. She did it and handled it with grace and was enthusiastic about the process.”\u003c/p>\n\u003cp>Prince-Bythewood sees herself in Winbush, who has become her mentee of sorts. As a fellow introvert, she tried to instill more confidence in Winbush’s stature as a leader.\u003c/p>\n\u003cp>[aside postid='arts_13931773']“I thought about myself and given the situation, I could empathize with what she was going through,” said Prince-Bythewood, who made her directorial debut with \u003cem>Love & Basketball\u003c/em> and known for other films such as \u003cem>The Secret Life of Bees\u003c/em> and \u003cem>The Old Guard\u003c/em>. The director said she was determined to help Winbush learn the importance of communication, swagger and inspiring the crew.\u003c/p>\n\u003cp>“The confidence in her abilities was always there. My thing was she kept calling herself a first-time director,” she said. “I told her you can’t think of yourself like that, because then everybody else is going to think about you like that as if that’s a negative thing, like you don’t know what you’re doing as opposed to you being a director making your first film … You’re on the frontline.”\u003c/p>\n\u003cp>Regardless of how Winbush’s film panned out, Rae said the process was very beneficial. She has hopes for a second season to introduce more female directors, including some of color.\u003c/p>\n\u003cp>“If we get another opportunity, we kind of want to start smaller, make sure the script is in shape,” Rae said. “We want to give an opportunity to another director out there who needs a support system. Gina, Kumail and I lament the fact that our time was sucked by respective projects. We want to operate as even better mentors to the next hopeful and be more hands on with the project throughout.”\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>‘Project Greenlight: A New Generation’ is streaming on Max now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rae said the idea to revive the series was originally presented to her by Montrel McKay, who is featured in show and serves as the president of development & production at her Hoorae Media production company. After the company approached Max with the idea to highlight first-time female directors, she said the streaming service was “enthusiastic” in what she calls the easiest greenlight from them.\u003c/p>\n\u003cp>Rae and company filtered through 10 finalists before selecting Meko Winbush, a writer-director who mostly had experience making trailers and short films. The 10-episode series pulls back the curtain on the entire filmmaking process that shows the challenges each team faces while guiding Winbush — who is a Black woman — into making a successful film project.\u003c/p>\n\u003cp>Prince-Bythewood said it was important for the series to specifically highlight female directors, who weren’t hardly featured — if at all — in the original series.\u003c/p>\n\u003cp>“I used to love the show. I used to watch every season. And there was such a normalcy to the winners always being ‘white men.’ I don’t even remember a person of color even being in the running. I don’t remember a woman,” she said. “I didn’t even question it back then, which is crazy. Being a part of it now, this reboot is way more reflective of what the industry is and needs to be.”\u003c/p>\n\u003cfigure id=\"attachment_13932091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg\" alt=\"Two Black women with shoulder length wavy hair stand close together, smiling, on a red carpet. The woman on the left wears a gold velvet suit and white shirt and clutches an award statue. The woman on the right wearing a Black suit.\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Prince-Bythewood and Viola Davis, star of ‘The Woman King,’ attend the 2023 ‘ESSENCE’ Black Women in Hollywood Awards in LA. \u003ccite>(Robin L Marshall/Getty Images for ESSENCE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the process, Winbush was under constant pressure and struggled at times to execute her vision. She had less than 20 days to direct the science fiction thriller called \u003cem>Gray Matter\u003c/em>.\u003c/p>\n\u003cp>The cameras rolled from pre-production along with casting through principal photography and post-production.\u003c/p>\n\u003cp>“Women aren’t given a chance to direct genre movies,” said Rae, who initially had some reservations about selecting Winbush. “In hindsight, it’s ambitious to try to make a genre movie in 18 days with a very limited budget. But I give props to Meko for doing just that. This is a hard experience to do with a camera in your face. She did it and handled it with grace and was enthusiastic about the process.”\u003c/p>\n\u003cp>Prince-Bythewood sees herself in Winbush, who has become her mentee of sorts. As a fellow introvert, she tried to instill more confidence in Winbush’s stature as a leader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I thought about myself and given the situation, I could empathize with what she was going through,” said Prince-Bythewood, who made her directorial debut with \u003cem>Love & Basketball\u003c/em> and known for other films such as \u003cem>The Secret Life of Bees\u003c/em> and \u003cem>The Old Guard\u003c/em>. The director said she was determined to help Winbush learn the importance of communication, swagger and inspiring the crew.\u003c/p>\n\u003cp>“The confidence in her abilities was always there. My thing was she kept calling herself a first-time director,” she said. “I told her you can’t think of yourself like that, because then everybody else is going to think about you like that as if that’s a negative thing, like you don’t know what you’re doing as opposed to you being a director making your first film … You’re on the frontline.”\u003c/p>\n\u003cp>Regardless of how Winbush’s film panned out, Rae said the process was very beneficial. She has hopes for a second season to introduce more female directors, including some of color.\u003c/p>\n\u003cp>“If we get another opportunity, we kind of want to start smaller, make sure the script is in shape,” Rae said. “We want to give an opportunity to another director out there who needs a support system. Gina, Kumail and I lament the fact that our time was sucked by respective projects. We want to operate as even better mentors to the next hopeful and be more hands on with the project throughout.”\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>‘Project Greenlight: A New Generation’ is streaming on Max now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Resilience of Steph Curry is Explored in New Apple TV+ Documentary",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927474/stephen-curry-underrated-documentary-peter-nicks\">\u003cem>Stephen Curry: Underrated\u003c/em>\u003c/a> is easily one of the most inspirational movies of the year.\u003c/p>\n\u003cp>This is a portrait of a man — the greatest three-point shooter of all time — who has felt inferior playing the game he loves since he was a scrawny kid playing on his local under-10 team. It’s easy to roll your eyes at supermodels who say they were teased when they were kids or famous actors who look like the captain of the football team insisting they were outcasts in high school. In the rear-view mirror, when things have gone so well after that origin story, it just always rings a little false.\u003c/p>\n\u003cp>[aside postid='arts_13927474']But in this documentary, directed by Peter Nicks and streaming on Apple TV+ Friday, the filmmakers put you in Curry’s shoes. They show you video of him on that under-10 team, indeed looking scrawnier than his counterparts and with the posture of someone who’s already self-conscious about it.\u003c/p>\n\u003cp>They have Reggie Miller on hand to read the draft report which says Curry is “far below NBA standard in regard to explosiveness and athleticism,” extremely short for a shooting guard position, and cautions “do not rely on him to run your team.” Ouch.\u003c/p>\n\u003cp>And they close in on his face at some of the biggest moments of his career, both in college and in the NBA, to show a reaction that’s neither smug nor nonchalant or overly celebratory: It’s authentic astonishment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=csMgsPbzs5o\u003c/p>\n\u003cp>As if to upend expectations even more, the present timeline of \u003cem>Stephen Curry: Underrated\u003c/em> is not focused on a season or chasing a title — though there is plenty of basketball, including the moment he breaks the three-point record. It’s almost more about college — deciding he wanted to play at school, finding the right school for himself and, many years and championships later, studying to finish what he started, while juggling his career, his contracts and his family.\u003c/p>\n\u003cp>[aside postid='arts_13928775']In 2009, Curry decided to leave Davidson College a year early, without graduating, to pursue professional basketball. But he made a promise his mother, Sonya, that he’d go back and finish at some point.\u003c/p>\n\u003cp>Curry and Davidson, like most healthy athlete-school agreements, seemed to choose one another at exactly the right time. When he got in, feeling good about himself, he went to tell his friends: They’d never even heard of the small liberal arts college in North Carolina. That was a bit disappointing but what would have been even worse is if he’d accidentally sabotaged the whole thing by not responding to coach Bob McKillop, who started to worry whether his recruit was being pursued by other schools when Curry went dark.\u003c/p>\n\u003cp>From high school to college on into the pros, something that struck many about Curry is how he makes a lot of mistakes but never seems to wallow in them. When he goes up against Michigan for the first time in college, he describes how everything that could go wrong went wrong. Later, his coach said he was going to start the next game. McKillop saw in his perseverance a toughness that was rare in players.\u003c/p>\n\u003cp>His parents, Dell and Sonya, helped shepherd that discipline but always because he wanted it — not some horrifying reversal in which the parents are the drivers of something.\u003c/p>\n\u003cp>[aside postid='arts_13914916']You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc \u003cem>The Last Dance\u003c/em>, this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Curry says in a zen sort of way, he’s just, ”Trying to find the space to survey my life … Let my mind think about how I got here.”\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\">\u003cem>‘Stephen Curry: Underrated,’ begins streaming on Friday, July 21, via Apple TV+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in this documentary, directed by Peter Nicks and streaming on Apple TV+ Friday, the filmmakers put you in Curry’s shoes. They show you video of him on that under-10 team, indeed looking scrawnier than his counterparts and with the posture of someone who’s already self-conscious about it.\u003c/p>\n\u003cp>They have Reggie Miller on hand to read the draft report which says Curry is “far below NBA standard in regard to explosiveness and athleticism,” extremely short for a shooting guard position, and cautions “do not rely on him to run your team.” Ouch.\u003c/p>\n\u003cp>And they close in on his face at some of the biggest moments of his career, both in college and in the NBA, to show a reaction that’s neither smug nor nonchalant or overly celebratory: It’s authentic astonishment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/csMgsPbzs5o'\n title='//www.youtube.com/embed/csMgsPbzs5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As if to upend expectations even more, the present timeline of \u003cem>Stephen Curry: Underrated\u003c/em> is not focused on a season or chasing a title — though there is plenty of basketball, including the moment he breaks the three-point record. It’s almost more about college — deciding he wanted to play at school, finding the right school for himself and, many years and championships later, studying to finish what he started, while juggling his career, his contracts and his family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2009, Curry decided to leave Davidson College a year early, without graduating, to pursue professional basketball. But he made a promise his mother, Sonya, that he’d go back and finish at some point.\u003c/p>\n\u003cp>Curry and Davidson, like most healthy athlete-school agreements, seemed to choose one another at exactly the right time. When he got in, feeling good about himself, he went to tell his friends: They’d never even heard of the small liberal arts college in North Carolina. That was a bit disappointing but what would have been even worse is if he’d accidentally sabotaged the whole thing by not responding to coach Bob McKillop, who started to worry whether his recruit was being pursued by other schools when Curry went dark.\u003c/p>\n\u003cp>From high school to college on into the pros, something that struck many about Curry is how he makes a lot of mistakes but never seems to wallow in them. When he goes up against Michigan for the first time in college, he describes how everything that could go wrong went wrong. Later, his coach said he was going to start the next game. McKillop saw in his perseverance a toughness that was rare in players.\u003c/p>\n\u003cp>His parents, Dell and Sonya, helped shepherd that discipline but always because he wanted it — not some horrifying reversal in which the parents are the drivers of something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You don’t need to know much about basketball or care about Steph Curry to watch this film, though many probably will. But much like the Michael Jordan doc \u003cem>The Last Dance\u003c/em>, this beautifully constructed (and much more economical) narrative operates on its own terms, with a beautiful score guiding the viewer through his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Curry says in a zen sort of way, he’s just, ”Trying to find the space to survey my life … Let my mind think about how I got here.”\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\">\u003cem>‘Stephen Curry: Underrated,’ begins streaming on Friday, July 21, via Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Abbi Jacobson Is Auctioning Off Her Blue ‘Broad City’ Dress to Benefit Striking Writers",
"headTitle": "Abbi Jacobson Is Auctioning Off Her Blue ‘Broad City’ Dress to Benefit Striking Writers | KQED",
"content": "\u003cp>There have been many sacrifices made since the WGA and SAG-AFTRA unions began striking in Hollywood. Three months in, writers’ bank accounts are taking a major hit as creatives continue to strike for better contracts and compensation. A week ago, actors joined the strike in solidarity with the writers, grinding Hollywood to an almost complete halt. That means, in turn, that California’s economy is losing millions. (\u003ca href=\"https://www.vox.com/culture/23696617/writers-strike-wga-2023-explained-residuals-streaming-ai\">The 100-day strike in 2007-08 cost the state a whopping $2.1 billion\u003c/a>!) To say it’s an all-hands-on-deck situation would be an understatement.\u003c/p>\n\u003cp>Remarkably, on Thursday morning, yet another extraordinary sacrifice was made. Abbi Jacobson stepped forward clutching the prize of a generation — her blue bodycon dress from \u003cem>Broad City\u003c/em>. The \u003cem>League of Their Own\u003c/em> star hit Instagram to announce she would be auctioning off her character Abbi Abrams’ iconic party garment to benefit \u003ca href=\"https://www.tusctogether.com/\">The Union Solidarity Commission. \u003c/a>(TUSC has been assisting striking workers with living and healthcare expenses.)\u003c/p>\n\u003cfigure id=\"attachment_13931868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Cu7N39lL3Ng/?img_index=1\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png\" alt=\"An Instagram post by Abbi Jacobson, featuring a photo of her wearing a blue dress while standing in a cluttered bedroom. She has her hands on her hips.\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1020x494.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-768x372.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1536x744.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1920x930.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM.png 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Abbi Jacobson is parting with her legendary blue dress, all to benefit the writers and actors currently on strike. \u003ccite>(Instagram/ @abbijacobson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobson wrote: “Have you ever wanted to own a real piece of Hollywood history? Some would say a priceless iconic garment? Others a treasured sliver of a time gone by? … This will obviously come with a handwritten note from me as this gem is hard to part with (and the Smithsonian hasn’t returned my calls). It’s taken me 5 years just to peel it off my body. Go bid and help a great cause!”\u003c/p>\n\u003cp>Jacobson’s former \u003cem>Broad City\u003c/em> co-star Ilana Glazer was quick to leave a comment asking “how do I win this dress… pls.”\u003c/p>\n\u003cp>Abbi’s blue dress appeared repeatedly throughout \u003cem>Broad City’\u003c/em>s five seasons — an on-screen reflection of the Millennial need to use the one nice thing they own over and over again in order to justify its purchase.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the show, Abbi first bought the dress to attend a fancy rooftop party without looking too “vanilla.” It reappeared at her birthday dinner at a snooty restaurant where she — to her absolute horror — “peed out a condom.” Next up, Abbi and her blue dress went on a yacht date with Ilana, Lincoln, Jaime and way too many lawyers to celebrate Jaime becoming an American citizen. By the time Abbi’s mom showed up and wore the dress on a night out, we all understood the pain of the moment. The blue dress got one last spin around the block when Abbi first went on a date with Trey.\u003c/p>\n\u003cp>[aside postid='pop_96171']At the time of writing, Abbi’s blue dress had received 27 bids and was sitting at $5,010. Other items in the TUSC auction include \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144742\">a ceramic vase\u003c/a> made by Seth Rogen, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/148464\">a “private hang” with Woody Harrelson\u003c/a>, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144740\">blankets hand-knitted by Justine Bateman\u003c/a>, a bikini \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/149994\">hand-knit by Lena Dunham\u003c/a> and \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144799\">a writing workshop with Amber Tamblyn\u003c/a>. The dress has far and away the highest bid of any lot in the auction so far, but the price is bound to increase further. The auction is running until 4 p.m. on Aug. 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144792\">bid on the blue dress here\u003c/a> or check out \u003ca href=\"https://givebutter.com/c/TUSCauction/auction\">all of TUSC’s auction\u003c/a> items here.\u003c/p>\n\n",
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"excerpt": "Abbi's blue dress became a symbol of Millennial financial constraints on the show. Now, you too can spend too much money on it!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been many sacrifices made since the WGA and SAG-AFTRA unions began striking in Hollywood. Three months in, writers’ bank accounts are taking a major hit as creatives continue to strike for better contracts and compensation. A week ago, actors joined the strike in solidarity with the writers, grinding Hollywood to an almost complete halt. That means, in turn, that California’s economy is losing millions. (\u003ca href=\"https://www.vox.com/culture/23696617/writers-strike-wga-2023-explained-residuals-streaming-ai\">The 100-day strike in 2007-08 cost the state a whopping $2.1 billion\u003c/a>!) To say it’s an all-hands-on-deck situation would be an understatement.\u003c/p>\n\u003cp>Remarkably, on Thursday morning, yet another extraordinary sacrifice was made. Abbi Jacobson stepped forward clutching the prize of a generation — her blue bodycon dress from \u003cem>Broad City\u003c/em>. The \u003cem>League of Their Own\u003c/em> star hit Instagram to announce she would be auctioning off her character Abbi Abrams’ iconic party garment to benefit \u003ca href=\"https://www.tusctogether.com/\">The Union Solidarity Commission. \u003c/a>(TUSC has been assisting striking workers with living and healthcare expenses.)\u003c/p>\n\u003cfigure id=\"attachment_13931868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Cu7N39lL3Ng/?img_index=1\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png\" alt=\"An Instagram post by Abbi Jacobson, featuring a photo of her wearing a blue dress while standing in a cluttered bedroom. She has her hands on her hips.\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-800x388.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1020x494.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-768x372.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1536x744.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM-1920x930.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-20-at-12.13.39-PM.png 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Abbi Jacobson is parting with her legendary blue dress, all to benefit the writers and actors currently on strike. \u003ccite>(Instagram/ @abbijacobson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobson wrote: “Have you ever wanted to own a real piece of Hollywood history? Some would say a priceless iconic garment? Others a treasured sliver of a time gone by? … This will obviously come with a handwritten note from me as this gem is hard to part with (and the Smithsonian hasn’t returned my calls). It’s taken me 5 years just to peel it off my body. Go bid and help a great cause!”\u003c/p>\n\u003cp>Jacobson’s former \u003cem>Broad City\u003c/em> co-star Ilana Glazer was quick to leave a comment asking “how do I win this dress… pls.”\u003c/p>\n\u003cp>Abbi’s blue dress appeared repeatedly throughout \u003cem>Broad City’\u003c/em>s five seasons — an on-screen reflection of the Millennial need to use the one nice thing they own over and over again in order to justify its purchase.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the show, Abbi first bought the dress to attend a fancy rooftop party without looking too “vanilla.” It reappeared at her birthday dinner at a snooty restaurant where she — to her absolute horror — “peed out a condom.” Next up, Abbi and her blue dress went on a yacht date with Ilana, Lincoln, Jaime and way too many lawyers to celebrate Jaime becoming an American citizen. By the time Abbi’s mom showed up and wore the dress on a night out, we all understood the pain of the moment. The blue dress got one last spin around the block when Abbi first went on a date with Trey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the time of writing, Abbi’s blue dress had received 27 bids and was sitting at $5,010. Other items in the TUSC auction include \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144742\">a ceramic vase\u003c/a> made by Seth Rogen, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/148464\">a “private hang” with Woody Harrelson\u003c/a>, \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144740\">blankets hand-knitted by Justine Bateman\u003c/a>, a bikini \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/149994\">hand-knit by Lena Dunham\u003c/a> and \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144799\">a writing workshop with Amber Tamblyn\u003c/a>. The dress has far and away the highest bid of any lot in the auction so far, but the price is bound to increase further. The auction is running until 4 p.m. on Aug. 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can \u003ca href=\"https://givebutter.com/c/TUSCauction/auction/items/144792\">bid on the blue dress here\u003c/a> or check out \u003ca href=\"https://givebutter.com/c/TUSCauction/auction\">all of TUSC’s auction\u003c/a> items here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That...’",
"headTitle": "Exploring TV Reboot Hits and Misses, From ‘Justified’ to ‘And Just Like That…’ | KQED",
"content": "\u003cp>As a stone \u003cem>Justified\u003c/em> fan, I’m just not sure what to make of FX’s new limited series revival, \u003cem>Justified: City Primeval\u003c/em>.\u003c/p>\n\u003cp>On the surface, it offers what any good revival does: The bracing, nostalgia-laced return of a beloved character — Timothy Olyphant’s modern-day, Stetson-wearing lawman Raylan Givens — in a new adventure. This time, it’s based on a novel by the legendary author who created Givens, Elmore Leonard, set in Detroit, instead of the Kentucky hollers and small towns where the original \u003cem>Justified\u003c/em> series took place.\u003c/p>\n\u003cp>But Leonard’s 1980 book \u003cem>City Primeval\u003c/em> features a different protagonist, not Givens. So it’s not surprising that FX’s version feels like they lifted poor Raylan out of an environment where he makes sense and plopped him into a place where his charm, street savvy, Southern roots and drive to do the job is blunted and less appealing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N6KEgWSFfaE\u003c/p>\n\u003cp>Which highlights the particular challenges of the modern-day TV revival/reboot/reimagining. The best of these evoke a sense of the original but offer a fresh perspective and, if possible, corrects and improves on the shortcomings of the original series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13931005']Most of all, they have to answer a simple, yet telling question: Why is this happening now?\u003c/p>\n\u003cp>Some answers are just about business. A media company has intellectual property it wants to exploit. Stars of the show are willing to return for one more payday. Fans have bought enough ancillary products to show there’s a market.\u003c/p>\n\u003cp>But there’s only one answer that leads to a great series: Someone has found an amazing new story which must be told with these popular characters. And, for me, \u003cem>Justifed: City Primeval\u003c/em>, good as it is in spots, just doesn’t quite reach that pinnacle.\u003c/p>\n\u003cp>\u003cstrong>When a TV revival really works (or doesn’t)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13931775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg\" alt=\"A middle-aged man with grey hair stand next to an open car trunk, wearing a plaid shirt and bullet proof vest. Behind him are three police officers: a white man, a Black man and a white women with red hair.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Olyphant, Norbert Leo Butz, Victor Williams and Marin Ireland. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>City Primeval \u003c/em>makes a few odd choices for a revival. For most of the episodes, there is only one character from the original series in the new story (I don’t count Givens’ daughter, who was a baby in the original series and is a teen played by Olyphant’s real-life daughter in the revival). He’s chasing around a charismatic killer in Detroit, where Raylan’s “old soul in the modern age” vibe doesn’t wear as well.\u003c/p>\n\u003cp>[aside postid='arts_13931297']And the issues we see Givens weighing in the revival are the same ones he navigated in the previous series — his drive to take on psychopathic lawbreakers and the toll it takes on him and those who love him. It makes for a passable enough drama for those jonesing to see Givens in action again. But for those of us who remember the original series’ sharp wit and eye for compelling, original characters the question surfaces again: Why are we seeing this now?\u003c/p>\n\u003cp>Another revival which struggled with this question recently is the \u003cem>Sex and the City\u003c/em> spinoff, \u003cem>And Just Like That..\u003c/em>. So much of the original series’ appeal was rooted in how we felt about sex, gender, wealth, privilege, race and class back in the late 1990s and early 2000s. The update, now available on the Max streaming service, hasn’t provided a great answer for why we should check in on these characters nearly 20 years later — besides getting to see a few non-white and gay characters bask in the privilege that Carrie and her cohorts blithely enjoyed back in the day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iHh1SkiptEk\u003c/p>\n\u003cp>They’re still status-obsessed, unaware of their privilege and shoehorning characters of color into their storylines to avoid criticism (but mostly without one of the show’s coolest characters, Kim Cattrall’s Samantha Jones, courtesy of Cattrall’s \u003ca href=\"https://www.cosmopolitan.com/entertainment/tv/a35246263/kim-cattrall-sarah-jessica-parker-drama-timeline/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_cos_md_pmx_us_urlx_18419138764&gclid=Cj0KCQjwtamlBhD3ARIsAARoaEzfw5V8ZoMGs_6Vr_0NBGCrPGgNcuSIgmj5zUyWeS2D768pHatQ7rkaAiDQEALw_wcB\">ongoing feud \u003c/a>with the rest of the cast). Fans eager to see these characters in new adventures may not care about these criticisms. But the rest of us are left scratching our heads and wondering why this show exists at all.\u003c/p>\n\u003cp>[aside postid='arts_13908472']As a card-carrying sci fi nerd, I know I’m biased. But I think the third season of \u003cem>Star Trek: Picard\u003c/em> was a much better example of a revival hitting on all cylinders. The season, which dropped earlier this year, reunited most major characters from \u003cem>Star Trek: The Next Generation\u003c/em> in a new adventure which allowed old characters to show fresh sides in a show with amped-up, modern special effects.\u003c/p>\n\u003cp>Maternal ship’s doctor Beverly Crusher came back as a butt-kicking, altruistic action hero with a secret past she’d hidden from her former flame, a wizened Admiral Jean-Luc Picard. Stalwart second-in-command Will Riker was a captain struggling to reconnect with his own family. Formerly blind engineer Geordi La Forge, now outfitted with awesome artificial eyes, was a parent himself. The new threat facing the galaxy was bound up in their shared history, but also revealed new depths to the characters that fans loved.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DI9hty_iT4Q\u003c/p>\n\u003cp>Nearly 30 years after the original series stopped making new episodes, the Picard revival was so successful it \u003ca href=\"https://trekmovie.com/2023/06/14/akiva-goldsman-says-appetite-for-star-trek-legacy-spinoff-from-picard-is-undeniable/\">sparked an online petition \u003c/a>by fans to continue the story in a new series based on a beloved video game, \u003cem>Star Trek: Legacy.\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Trek\u003c/em>‘s case, that central question — why now? — had a powerful answer.\u003c/p>\n\u003cp>\u003cstrong>When a TV reimagining really works\u003c/strong>\u003c/p>\n\u003cp>The original 1988 version of \u003cem>The Wonder Years\u003c/em> always stuck in my craw a bit. It was set at a time that was pivotal for race relations and Black people — two decades earlier, in 1968 — but featured no Black characters.\u003c/p>\n\u003cp>So ABC’s rejiggering of the show, centered this time on an all-Black family, felt a little bit like an apology. It’s also why this version — a heartwarming, gently funny tale featuring Don Cheadle as the grown-up voice of 12-year-old protagonist Dean Williams — works so nicely. Not only do we meet an authentic, entertaining family who couldn’t be more different than Fred Savage’s Kevin Arnold and his relations in suburbia, we see the show’s unique flashback formula used to tell new stories about a Black kid coming of age during times which affected black families very differently.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LOGo_RRF28\u003c/p>\n\u003cp>Instead of recreating the show as the Arnolds in blackface, ABC reimagined \u003cem>The Wonder Years\u003c/em> as a new tale set at the same time, focused on a different family. And because period pieces are always about the times when they are made rather than the times they depict, all the issues they present are handled far differently than they would have been in the late 1980s.\u003c/p>\n\u003cp>\u003cstrong>When a TV reboot (kind of ) works\u003c/strong>\u003c/p>\n\u003cp>For the purposes of this story, I’ve defined a TV reboot in slightly stricter terms than usual — as a new version of an old program featuring the same characters in the same setting. Think of the History channel’s remake of the classic 1970s-era miniseries \u003cem>Roots\u003c/em> in 2016. Or Netflix’s series version of Spike Lee’s first major film, \u003cem>She’s Gotta Have It\u003c/em>, in 2017. Stretch it a bit, and you might even include other Netflix standouts like \u003cem>Lost in Space\u003c/em> and \u003cem>Wednesday\u003c/em> (which is really just a reboot of \u003cem>The Addams Family\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13928702']In these cases, new actors played the same characters from the original program; they’re not older or younger versions, so they’re essentially rewriting — or, rebooting — stories featuring the core characters.\u003c/p>\n\u003cp>Often, it’s toughest for these kinds of shows to answer that central question. History’s \u003cem>Roots\u003c/em>, developed to reach a new generation, had lots of advantages: better effects and photography, upgraded historical facts, and Black characters who fought harder against exploitation. But it couldn’t match the impact of the original \u003cem>Roots\u003c/em>, which essentially created the TV miniseries format by presenting the most explicit vision of slavery’s cruelty yet seen on the small screen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sometimes, even with the best development and intentions, recreating a TV classic is like trying to catch lightning in a bottle for a second time — a longshot that won’t yield the dividends you expect, even when you get it mostly right.\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=TV+reboots+have+to+answer+one+question%3A+Why+now%3F+Just+look+at+%27Justified%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a stone \u003cem>Justified\u003c/em> fan, I’m just not sure what to make of FX’s new limited series revival, \u003cem>Justified: City Primeval\u003c/em>.\u003c/p>\n\u003cp>On the surface, it offers what any good revival does: The bracing, nostalgia-laced return of a beloved character — Timothy Olyphant’s modern-day, Stetson-wearing lawman Raylan Givens — in a new adventure. This time, it’s based on a novel by the legendary author who created Givens, Elmore Leonard, set in Detroit, instead of the Kentucky hollers and small towns where the original \u003cem>Justified\u003c/em> series took place.\u003c/p>\n\u003cp>But Leonard’s 1980 book \u003cem>City Primeval\u003c/em> features a different protagonist, not Givens. So it’s not surprising that FX’s version feels like they lifted poor Raylan out of an environment where he makes sense and plopped him into a place where his charm, street savvy, Southern roots and drive to do the job is blunted and less appealing.\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/N6KEgWSFfaE'\n title='//www.youtube.com/embed/N6KEgWSFfaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which highlights the particular challenges of the modern-day TV revival/reboot/reimagining. The best of these evoke a sense of the original but offer a fresh perspective and, if possible, corrects and improves on the shortcomings of the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Most of all, they have to answer a simple, yet telling question: Why is this happening now?\u003c/p>\n\u003cp>Some answers are just about business. A media company has intellectual property it wants to exploit. Stars of the show are willing to return for one more payday. Fans have bought enough ancillary products to show there’s a market.\u003c/p>\n\u003cp>But there’s only one answer that leads to a great series: Someone has found an amazing new story which must be told with these popular characters. And, for me, \u003cem>Justifed: City Primeval\u003c/em>, good as it is in spots, just doesn’t quite reach that pinnacle.\u003c/p>\n\u003cp>\u003cstrong>When a TV revival really works (or doesn’t)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13931775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg\" alt=\"A middle-aged man with grey hair stand next to an open car trunk, wearing a plaid shirt and bullet proof vest. Behind him are three police officers: a white man, a Black man and a white women with red hair.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/jcp_101_1750r-copy_custom-c8b3591f5d460f2b9a0fe12edaf4fb5605e515f2-scaled-e1689716335383.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Olyphant, Norbert Leo Butz, Victor Williams and Marin Ireland. \u003ccite>(Chuck Hodes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>City Primeval \u003c/em>makes a few odd choices for a revival. For most of the episodes, there is only one character from the original series in the new story (I don’t count Givens’ daughter, who was a baby in the original series and is a teen played by Olyphant’s real-life daughter in the revival). He’s chasing around a charismatic killer in Detroit, where Raylan’s “old soul in the modern age” vibe doesn’t wear as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And the issues we see Givens weighing in the revival are the same ones he navigated in the previous series — his drive to take on psychopathic lawbreakers and the toll it takes on him and those who love him. It makes for a passable enough drama for those jonesing to see Givens in action again. But for those of us who remember the original series’ sharp wit and eye for compelling, original characters the question surfaces again: Why are we seeing this now?\u003c/p>\n\u003cp>Another revival which struggled with this question recently is the \u003cem>Sex and the City\u003c/em> spinoff, \u003cem>And Just Like That..\u003c/em>. So much of the original series’ appeal was rooted in how we felt about sex, gender, wealth, privilege, race and class back in the late 1990s and early 2000s. The update, now available on the Max streaming service, hasn’t provided a great answer for why we should check in on these characters nearly 20 years later — besides getting to see a few non-white and gay characters bask in the privilege that Carrie and her cohorts blithely enjoyed back in the day.\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/iHh1SkiptEk'\n title='//www.youtube.com/embed/iHh1SkiptEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’re still status-obsessed, unaware of their privilege and shoehorning characters of color into their storylines to avoid criticism (but mostly without one of the show’s coolest characters, Kim Cattrall’s Samantha Jones, courtesy of Cattrall’s \u003ca href=\"https://www.cosmopolitan.com/entertainment/tv/a35246263/kim-cattrall-sarah-jessica-parker-drama-timeline/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_cos_md_pmx_us_urlx_18419138764&gclid=Cj0KCQjwtamlBhD3ARIsAARoaEzfw5V8ZoMGs_6Vr_0NBGCrPGgNcuSIgmj5zUyWeS2D768pHatQ7rkaAiDQEALw_wcB\">ongoing feud \u003c/a>with the rest of the cast). Fans eager to see these characters in new adventures may not care about these criticisms. But the rest of us are left scratching our heads and wondering why this show exists at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a card-carrying sci fi nerd, I know I’m biased. But I think the third season of \u003cem>Star Trek: Picard\u003c/em> was a much better example of a revival hitting on all cylinders. The season, which dropped earlier this year, reunited most major characters from \u003cem>Star Trek: The Next Generation\u003c/em> in a new adventure which allowed old characters to show fresh sides in a show with amped-up, modern special effects.\u003c/p>\n\u003cp>Maternal ship’s doctor Beverly Crusher came back as a butt-kicking, altruistic action hero with a secret past she’d hidden from her former flame, a wizened Admiral Jean-Luc Picard. Stalwart second-in-command Will Riker was a captain struggling to reconnect with his own family. Formerly blind engineer Geordi La Forge, now outfitted with awesome artificial eyes, was a parent himself. The new threat facing the galaxy was bound up in their shared history, but also revealed new depths to the characters that fans loved.\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/DI9hty_iT4Q'\n title='//www.youtube.com/embed/DI9hty_iT4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 30 years after the original series stopped making new episodes, the Picard revival was so successful it \u003ca href=\"https://trekmovie.com/2023/06/14/akiva-goldsman-says-appetite-for-star-trek-legacy-spinoff-from-picard-is-undeniable/\">sparked an online petition \u003c/a>by fans to continue the story in a new series based on a beloved video game, \u003cem>Star Trek: Legacy.\u003c/em>\u003c/p>\n\u003cp>In \u003cem>Trek\u003c/em>‘s case, that central question — why now? — had a powerful answer.\u003c/p>\n\u003cp>\u003cstrong>When a TV reimagining really works\u003c/strong>\u003c/p>\n\u003cp>The original 1988 version of \u003cem>The Wonder Years\u003c/em> always stuck in my craw a bit. It was set at a time that was pivotal for race relations and Black people — two decades earlier, in 1968 — but featured no Black characters.\u003c/p>\n\u003cp>So ABC’s rejiggering of the show, centered this time on an all-Black family, felt a little bit like an apology. It’s also why this version — a heartwarming, gently funny tale featuring Don Cheadle as the grown-up voice of 12-year-old protagonist Dean Williams — works so nicely. Not only do we meet an authentic, entertaining family who couldn’t be more different than Fred Savage’s Kevin Arnold and his relations in suburbia, we see the show’s unique flashback formula used to tell new stories about a Black kid coming of age during times which affected black families very differently.\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/-LOGo_RRF28'\n title='//www.youtube.com/embed/-LOGo_RRF28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Instead of recreating the show as the Arnolds in blackface, ABC reimagined \u003cem>The Wonder Years\u003c/em> as a new tale set at the same time, focused on a different family. And because period pieces are always about the times when they are made rather than the times they depict, all the issues they present are handled far differently than they would have been in the late 1980s.\u003c/p>\n\u003cp>\u003cstrong>When a TV reboot (kind of ) works\u003c/strong>\u003c/p>\n\u003cp>For the purposes of this story, I’ve defined a TV reboot in slightly stricter terms than usual — as a new version of an old program featuring the same characters in the same setting. Think of the History channel’s remake of the classic 1970s-era miniseries \u003cem>Roots\u003c/em> in 2016. Or Netflix’s series version of Spike Lee’s first major film, \u003cem>She’s Gotta Have It\u003c/em>, in 2017. Stretch it a bit, and you might even include other Netflix standouts like \u003cem>Lost in Space\u003c/em> and \u003cem>Wednesday\u003c/em> (which is really just a reboot of \u003cem>The Addams Family\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In these cases, new actors played the same characters from the original program; they’re not older or younger versions, so they’re essentially rewriting — or, rebooting — stories featuring the core characters.\u003c/p>\n\u003cp>Often, it’s toughest for these kinds of shows to answer that central question. History’s \u003cem>Roots\u003c/em>, developed to reach a new generation, had lots of advantages: better effects and photography, upgraded historical facts, and Black characters who fought harder against exploitation. But it couldn’t match the impact of the original \u003cem>Roots\u003c/em>, which essentially created the TV miniseries format by presenting the most explicit vision of slavery’s cruelty yet seen on the small screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d3xdEGiypvc\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Od4i1OGStE\u003c/p>\n\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>[aside postid='arts_13931005']But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>[aside postid='arts_13930923']“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\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=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.nexstar.tv/the-cw-network-announces-slate-of-original-scripted-and-unscripted-programming-for-summer-2023/#:~:text=In%20each%20episode%20of%20RECIPE,in%20ways%20they%20never%20imagined.\">\u003cem>Recipe for Disaster\u003c/em>\u003c/a> premieres on the \u003ca href=\"https://www.cwtv.com/?utm_medium=ppc&utm_source=google&utm_campaign=da-non_brand-generic-search-exact&utm_content=genetic-na-copy1&%243p=a_google_adwords&%24always_deeplink=false&gclid=CjwKCAjwqZSlBhBwEiwAfoZUIBgYW3sRr-BKT3QJCnJUtoZ0rnRLQY_H3hlJ2iN3uRwmnxE76NllthoClawQAvD_BwE&lpurl=https%3A%2F%2Fwww.cwtv.com%2F%3Futm_medium%3Dcpc%26utm_source%3Dgoogle%26utm_campaign%3Dda-search-nb-web-generic%26utm_content%3Dgeneric-na-copy1%26utm_term%3Dstreaming%2520tv&~ad_set_id=127673001556&~campaign_id=14740285412&~channel=g&~keyword=streaming%20tv&~placement&_branch_match_id=1118927780865774800&_branch_referrer=H4sIAAAAAAAAAz2QXU%2FCMBSGf824MYPRwqYmi9kAo2gwoEbhZilt7Yb9su1W%2BfeuiCbn5jzvOe%2F5qJ3T9no0SoU%2FDpHWQ97Iz9HTPXs%2FXJEVEfubCEygzlHFlGKcVoh4ZYgd9Bhxj462IpTq0JV%2FIG7pgGHekHx28A%2Bz4uC%2Fds%2B8rEu%2FaHzxoXav9yXbvkG7MXH58ALXy5lcvjq1S4zcPK631R2s%2BRI0K9huvJDfiyxdce5qNePIr4tuXvVOA65bw%2FM6bB7BIgK3fXjvh9i7boiVCATetk5UgpKmFRGcY40jkAZkVWsw7dHvPWeKkdCoYbLnBMWWIoPrWO5jT%2Fcxo5Ka5q8fK%2BmodMHgl8cSxVjp4%2Fhc4KgJE60zFIlGsghMQeK6QZQtEKksdVX%2FnjHI0gwmyXg6TYPyN%2F%2BkTbJJAi6nkzE4STWSkvKcheSTHsP783%2F3C9f9AKYFoafDAQAA\">CW Network\u003c/a> next month, it’ll dish up plenty of the sugary and salty ingredients viewers have come to expect from cooking contests on reality TV. The show pairs professional chefs with a friend or family member who is hopeless in the kitchen. The contestants will “compete to make spectacular dishes while battling ridiculous disasters.”\u003c/p>\n\u003cp>But the show’s producers also mix in the reality TV equivalent of lean proteins and veggies. \u003cem>Recipe for Disaster\u003c/em> will feature chefs who cook with sustainable ingredients, compete to win meat and dairy-free cooking challenges, and even tell a joke about climate change being responsible for the sudden tropical rainstorm that soaks them as they try to cook.\u003c/p>\n\u003cfigure id=\"attachment_13931315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png\" alt=\"Two pairs of people hover closely over cooking stations while holding transparent umbrellas over their heads.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-07-at-11.09.27-AM.png 1372w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On ‘Recipe for Disaster,’ contestants must “make spectacular dishes while battling ridiculous disasters.” It premieres in August on The CW. \u003ccite>(Alameda Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, the creators of everything from celebrity gabfests to car racing competitions — the realm of so-called “unscripted TV” — have been finding ways to slip information about human-caused climate change and sustainable living onto our screens.\u003c/p>\n\u003cp>Data from \u003ca href=\"https://www.statista.com/forecasts/229112/tv-viewers-who-typically-watch-dating-reality-shows-usa#:~:text=This%20statistic%20presents%20the%20share,in%202023%2C%20among%206%2C440%20respondents.\">Statistica\u003c/a> shows roughly a third of U.S. adults between 18 and 64 currently watch reality TV. But \u003cem>Recipe for Disaster \u003c/em>executive producer Cyle Zezo says even though climate change is very much part of everyone’s everyday reality, reality TV executives themselves have long shied away from the topic.\u003c/p>\n\u003cp>“A couple of years ago, if you’d brought up talking about climate on screen, people would think it was crazy and they wouldn’t even touch the subject,” Zezo told NPR at the recent \u003ca href=\"https://www.hollywoodclimatesummit.com/summit\">Hollywood Climate Summit\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Zezo said attitudes have started to shift toward featuring climate change on shows.\u003c/p>\n\u003cp>“When you talk to buyers now, maybe they don’t exactly know how to do it, but the door is more open to it,” he said. “And I’m excited to follow that where it goes.”\u003c/p>\n\u003cp>Scenes modeling sustainable behaviors or highlighting the impact of climate change have been cropping up lately in shows as diverse as the paranormal reality series \u003ca href=\"https://www.travelchannel.com/shows/ghost-adventures\">\u003cem>Ghost Adventures\u003c/em>\u003c/a>\u003cem>, (\u003c/em>in one episode, an anthropologist suggests climate change might be responsible for the unexpected sighting of a massive unidentified sea creature); talk shows, such as Jane Fonda’s appearance a few months ago on \u003ca href=\"https://www.nbc.com/the-kelly-clarkson-show\">\u003cem>The Kelly Clarkson Show\u003c/em>\u003c/a>; and the business startup contest \u003ca href=\"https://abc.com/shows/shark-tank\">\u003cem>Shark Tank\u003c/em>\u003c/a> (for example, Gwyneth Paltrow buys into a sustainable diaper company).\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/d3xdEGiypvc'\n title='//www.youtube.com/embed/d3xdEGiypvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to a \u003ca href=\"https://www.usc.edu/\">University of Southern California\u003c/a> study shared with NPR ahead of its fall publish date, nearly 30,000 mentions of climate change-related keywords appeared across every category of unscripted TV between last August and this February.\u003c/p>\n\u003cp>“That included home shows, food shows, docuseries, even sports,” said Erica Rosenthal, director of research at the university’s \u003ca href=\"https://learcenter.org/\">Norman Lear Center\u003c/a>, the group behind the study. “So that was really a surprising and exciting finding.”\u003c/p>\n\u003ch3>An unlikely climate change reality star\u003c/h3>\n\u003cp>One unlikely example of the new openness to climate change programing is the car racing show \u003ca href=\"https://www.extreme-e.com/\">\u003cem>Extreme E\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In the series, electric SUVs try to outpace each other in remote parts of the world hit hard by climate change. Season one included a race in Greenland that passed by a retreating glacier.\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/4Od4i1OGStE'\n title='//www.youtube.com/embed/4Od4i1OGStE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also includes many direct mentions of the term “climate change,” such as, “In climate change, everyone needs to win, or we all lose.” Last year, according to the producer’s \u003ca href=\"https://www.extreme-e.com/en/news/768_Extreme-E-reveals-strong-audience-growth-in-second-season#:~:text=As%20pioneering%20electric%20racing%20series,its%20inaugural%20season%20in%202021\">audience growth report\u003c/a>, the show reached 135 million viewers across the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But unscripted shows like this one that center climate change as a topic — or even mention the term directly — are still relatively rare.\u003c/p>\n\u003cp>“What we’re seeing is plenty of fleeting mentions of terms that are climate-adjacent,” USC’s Rosenthal said. “But not necessarily explicitly climate change.”\u003c/p>\n\u003cp>Rosenthal said the most commonly used terms in the study were “vegan,” “vegetarian,” “insulation” and “solar.”\u003c/p>\n\u003cp>“The term ‘climate change’ itself represented just 4% of all of the keyword mentions we came across,” Rosenthal said, though he added that the term did make it into the top 10 of the keywords the study covered.\u003c/p>\n\u003cp>This baseline analysis of unscripted TV was created as a follow-up to \u003ca href=\"https://www.goodenergystories.com/playbook/research-findings-climate-silence-in-tv-and-film\">research published last year\u003c/a> on scripted TV and movies. As with this previous study, the new findings are based on the analysis of show scripts. This means it excludes most non-verbal references to sustainable behaviors or climate change depicted on screen, such as, for instance, \u003cem>Recipe for Disaster\u003c/em>‘s use of compost bins on set.\u003c/p>\n\u003cp>“When people are talking about climate change and global warming, they’re talking about it through other ways,” said University of Colorado Boulder environmental studies professor, \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>.\u003c/p>\n\u003cp>Boykoff, who studies the intersection of mass media and climate change, said he’s not surprised that unscripted TV producers tend to sneak climate change-adjacent material into their shows, rather than address the topic head on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Unscripted television is a way to get into the homes of people who otherwise may not take interest in climate change,” Boykoff said. “Those who otherwise may see it as yet another set of challenges that they just don’t want to have to deal with.”\u003c/p>\n\u003cp>But Boykoff said producers need to be bolder, since the medium has the power to reach so many people. Using that influence \u003cem>only\u003c/em> to focus on small behavioral changes isn’t enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Climate change is a collective action problem at a global scale,” Boykoff said. “We ought not get caught up in just using a mug instead of a paper cup and thinking that we’ve done our job.”\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=Climate+change+is+our+reality+%E2%80%94+so+why+wouldn%27t+it+appear+on+reality+TV%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A slate of big-budget summer movies from \u003cem>Indiana Jones and the Dial of Destiny\u003c/em> to a live-action \u003cem>Barbie\u003c/em> film will be released in the coming weeks as Hollywood gears up for blockbuster season. But behind the scenes, as the Hollywood writers strike enters its third month, the impact of the current conflict between screenwriters and major film studios and streamers is coming into focus. Most productions have ground to a halt as future films and TV series are being delayed, if not canceled.\u003c/p>\n\u003cp>One of the most high-profile productions canceled by the strike is a \u003ca href=\"https://www.indiewire.com/news/breaking-news/sam-esmail-metropolis-series-scrapped-1234876313/\">new TV adaptation of Fritz Lang’s classic 1927 sci-fi film \u003cem>Metropolis\u003c/em>\u003c/a>. Apple TV+ reportedly scrapped acclaimed showrunner Sam Esmail’s years-in-the-making series just as it was supposed to begin filming this summer in Australia. Max’s new Batman spin-off series, \u003cem>The Penguin,\u003c/em> starring Colin Farrell, has also been halted, even through a teaser for the show had been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAPifwlWBP0\u003c/p>\n\u003cp>With many writers on the picket lines no longer participating in any scripting or revisions, many existing series are no longer filming. Shooting for the next season of the \u003cem>Yellowstone\u003c/em> prequel 1\u003cem>923\u003c/em> on Paramount+, starring Harrison Ford and Helen Mirren, has been suspended until the writers strike ends. Other popular shows that are not currently filming include future seasons of \u003cem>Severance\u003c/em>, \u003cem>Abbott Elementary\u003c/em>, \u003cem>Euphoria\u003c/em>, \u003cem>The Last of Us\u003c/em>, \u003cem>Cobra Kai\u003c/em> and the final season of Netflix’s \u003cem>Stranger Things\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/strangerwriters/status/1654955071631765506\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the delays aren’t all necessarily due to the strike. In recent months, studios and streamers have been consolidating and cutting costs through layoffs and cancelations. Some insiders speculate the studios may use the strike as an excuse to enact “force majeure,” contract clauses allowing them to cancel deals with creators and showrunners.\u003c/p>\n\u003cp>[aside postid='arts_13930931']It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>[aside postid='arts_13928702']The Emmy Awards, which are set to air on FOX in September, could be delayed for months. \u003ca href=\"https://www.nytimes.com/2023/06/21/business/media/emmy-awards-writers-strike.html?partner=slack&smid=sl-share\">Reports in \u003cem>The New York Times\u003c/em>\u003c/a>, \u003cem>The Hollywood Reporter\u003c/em> and other outlets suggest the organizers are discussing various contingency plans if the writers strike isn’t resolved this summer. Nominations are still scheduled to be announced Tuesday, July 12.\u003c/p>\n\u003cp>To manage the personal financial costs of a prolonged strike, many writers on the picket lines say they are relying on their fast-dwindling savings. Industry guilds, the Entertainment Community Fund, Women in Film and others have created emergency relief funds to support members.\u003c/p>\n\u003cp>https://twitter.com/jonhurwitz/status/1657094421396201473\u003c/p>\n\u003cp>The shutdowns are also impacting many others working behind the scenes on film crews, including cinematographers, editors, grips, costumers, caterers and truck drivers. According to Film LA, which handles permits for film shoots on city streets and other locations, there were only two scripted TV series shooting in Los Angeles this week. Normally at this time of year, there would be dozens of TV projects in production.\u003c/p>\n\u003cp>[aside postid='arts_13930083']The work stoppage affects many businesses that rely on the Hollywood economy, including restaurants, hotels and transportation. According to the Milken Institute, the 2008 writers strike, which lasted 100 days, cost the LA economy more than $2 billion in lost revenue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For audiences accustomed to a steady — and at times overflowing — stream of new films and TV series, this dramatic slowdown in productions will have a palpable impact in the year to come.\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=Not+coming+to+a+screen+near+you+%E2%80%93+viewers+will+soon+feel+effects+of+the+writers+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Who Wants to Be a Game Show Host? These Days, You Already Have to Be Famous | KQED",
"content": "\u003cp>When producers of \u003cem>Wheel of Fortune\u003c/em> named Ryan Seacrest — probably the most ubiquitous man on entertainment television — as its next host this week, it surprised virtually no one.\u003c/p>\n\u003cp>[aside postid='arts_13907974']The idea that Sony Pictures Television would appoint someone relatively unknown as the figurehead of one of its most valuable properties was far-fetched. But it wasn’t always that way for a genre of television that minted such celebrities like late \u003cem>Jeopardy!\u003c/em> host Alex Trebek, Bob Barker of \u003cem>The Price is Right\u003c/em> and current \u003cem>Wheel of Fortune\u003c/em> emcee Pat Sajak.\u003c/p>\n\u003cp>With Sajak’s impending retirement, after the show’s next season, it’s the end of an era: Game shows are now the provenance of the already famous.\u003c/p>\n\u003ch2>Why is Pat Sajak the last of his breed?\u003c/h2>\n\u003cp>Back in 1984, a much younger Sajak was pictured on the cover of \u003cem>TV Guide\u003c/em> alongside Wink Martindale, Monty Hall, Bill Cullen, Jack Barry and Barker.\u003c/p>\n\u003cp>[aside postid='arts_3901062']Each of the other men was known primarily as broadcast television game show hosts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, so is Sajak. He has a handful of other entries on his resume, disc jockey (many of his ilk also got their start in radio) and television weatherman among them. But he was 35 years old when he started hosting \u003cem>Wheel of Fortune\u003c/em> and will be 77 when he leaves next year. He’ll be forever known for standing onstage at the wheel, with Vanna White at the board.\u003c/p>\n\u003cfigure id=\"attachment_13931006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png\" alt=\"An attractive blonde woman in a red dress and heels stands, hand on hip, next to a senior man wearing a suit. The ‘Wheel of Fortune’ logo is displayed on a screen behind them.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM.png 1374w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanna White, left, and Pat Sajak, host of ‘Wheel of Fortune.’ \u003ccite>(Carol Kaelson/CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s kind of the last of the old school,” said Adam Nedeff, author and researcher for the National Archive of Game Show History at the Strong National Museum of Play in Rochester, New York.\u003c/p>\n\u003cp>Game shows were once shown live, or taped with hardly any interruptions, so the skill of an experienced broadcaster used to those conditions was prized, Nedeff said. Dick Clark would need it when taping 10 episodes of \u003cem>The 10,000 Pyramid\u003c/em> in a day.\u003c/p>\n\u003cp>Trebek similarly had a strong pedigree of television hosting, much of it in Canada, before he became host of \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003ch2>Where’s the pipeline now?\u003c/h2>\n\u003cp>Game shows were once a mainstay of daytime broadcast television, the land of the unhip, but are much less common today. The Game Show Network and Buzzr exist on cable for aficionados, but are heavy on reruns of the classics.\u003c/p>\n\u003cp>And, let’s be honest, who watches, anyway? To create interest in game shows these days, producers look for a name. That makes actors, comics or other celebrities attractive to front these shows (some of which have nevertheless been canceled) — people like Drew Carey (\u003cem>The Price Is Right\u003c/em>), Howie Mandel (\u003cem>Deal or No Deal\u003c/em>), Meredith Vieira (\u003cem>Who Wants to be a Millionaire?\u003c/em>), Wayne Brady (\u003cem>Let’s Make a Deal\u003c/em>), Steve Harvey (\u003cem>Family Feud\u003c/em>), Alec Baldwin (\u003cem>Match Game\u003c/em>), Michael Strahan (\u003cem>The $100,000 Pyramid\u003c/em>) and Mayim Bialik (\u003cem>Jeopardy!\u003c/em>). Ken Jennings wasn’t an actor, but any fan of \u003cem>Jeopardy!\u003c/em> knew who he was.\u003c/p>\n\u003cfigure id=\"attachment_13931007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931007\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png\" alt=\"A woman and man sit opposite each other in red chairs in the middle of a game show set. A Black man in a suit leans in next to them.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM.png 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Strahan, left, with contestants on ‘The $100,000 Pyramid.’ \u003ccite>(Christopher Willard/ ABC via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have a generation of stars who grew up watching game shows,” Nedeff said. “We have just reached a point where nobody sees any shame in hosting a game show.”\u003c/p>\n\u003cp>No one considers a game show low-rent anymore.\u003c/p>\n\u003ch2>And why should they?\u003c/h2>\n\u003cp>Seriously. Trebek would tape two weeks’ worth of shows over two days. There’s only 52 weeks a year, and that didn’t count the show’s vacation periods, for a salary most of us couldn’t conceive of.\u003c/p>\n\u003cp>[aside postid='arts_13901062']Carey replaced Barker on \u003cem>The Price is Right\u003c/em> in 2007. Soon, many viewers will know him as a game show host instead of an actor and comedian, if they don’t already.\u003c/p>\n\u003ch2>Why would he leave?\u003c/h2>\n\u003cp>Such relatively easy money is why a job like \u003cem>Wheel of Fortune\u003c/em> is coveted; Whoopi Goldberg openly campaigned for the job. And it’s behind the request Jamie Foxx surprised his management with in the 2010s.\u003c/p>\n\u003cp>“Years ago, I was telling my agent, I said, ‘Man, you gotta get a game show,’” Foxx told \u003cem>The Associated Press\u003c/em> in 2019. He succeeded with \u003cem>Beat Shazam\u003c/em>, on the Fox network. Foxx got a payday, and Fox got a bankable star to entice viewers to a new game.\u003c/p>\n\u003cp>Several game shows air in prime time now. Even if networks offer a big check to a star like Foxx, it’s nothing like paying for the writers, directors and actors of a scripted series (to remind you, said writers are now on strike).\u003c/p>\n\u003cfigure id=\"attachment_13931008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png\" alt=\"A woman with glasses and long brown hair stands smiling next to an electronic board displaying the ‘Jeopardy!’ logo. She is wearing a yellow dress and beige suit jacket and clasping her hands together.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM.png 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayim Bialik hosting ‘Jeopardy!’ in 2022. \u003ccite>(Tyler Golden/ CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly enough, Seacrest’s career path resembles some of the old-time hosts. Merv Griffin, the legendary game show impresario, even offered him a job hosting a quiz game show for kids when Seacrest was only 23, Nedeff said. Seacrest has experience as a disc jockey, a talk show host, a New Year’s Eve concertmaster and as the longtime host of \u003cem>American Idol\u003c/em>, once television’s biggest sensation.\u003c/p>\n\u003cp>[aside postid='arts_13921866']Unlike many game show hosts of yesteryear, he’s already a celebrity in his own right. \u003cem>Wheel of Fortune\u003c/em> is an empire Sony needs to protect: not just a television show, but video games, a casino game, a live show and an online merchandise store complete with a \u003cem>Wheel\u003c/em> umbrella and silver tote bag.\u003c/p>\n\u003cp>Seacrest, to be sure, is highly unlikely to muck that up.\u003c/p>\n\u003cp>The 48-year-old’s reward is a job he can surely count on as long as he wants to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "“A generation of stars have just reached a point where nobody sees any shame in hosting a game show,” says author Adam Nedeff.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers of \u003cem>Wheel of Fortune\u003c/em> named Ryan Seacrest — probably the most ubiquitous man on entertainment television — as its next host this week, it surprised virtually no one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The idea that Sony Pictures Television would appoint someone relatively unknown as the figurehead of one of its most valuable properties was far-fetched. But it wasn’t always that way for a genre of television that minted such celebrities like late \u003cem>Jeopardy!\u003c/em> host Alex Trebek, Bob Barker of \u003cem>The Price is Right\u003c/em> and current \u003cem>Wheel of Fortune\u003c/em> emcee Pat Sajak.\u003c/p>\n\u003cp>With Sajak’s impending retirement, after the show’s next season, it’s the end of an era: Game shows are now the provenance of the already famous.\u003c/p>\n\u003ch2>Why is Pat Sajak the last of his breed?\u003c/h2>\n\u003cp>Back in 1984, a much younger Sajak was pictured on the cover of \u003cem>TV Guide\u003c/em> alongside Wink Martindale, Monty Hall, Bill Cullen, Jack Barry and Barker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each of the other men was known primarily as broadcast television game show hosts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, so is Sajak. He has a handful of other entries on his resume, disc jockey (many of his ilk also got their start in radio) and television weatherman among them. But he was 35 years old when he started hosting \u003cem>Wheel of Fortune\u003c/em> and will be 77 when he leaves next year. He’ll be forever known for standing onstage at the wheel, with Vanna White at the board.\u003c/p>\n\u003cfigure id=\"attachment_13931006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png\" alt=\"An attractive blonde woman in a red dress and heels stands, hand on hip, next to a senior man wearing a suit. The ‘Wheel of Fortune’ logo is displayed on a screen behind them.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.24.59-AM.png 1374w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanna White, left, and Pat Sajak, host of ‘Wheel of Fortune.’ \u003ccite>(Carol Kaelson/CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s kind of the last of the old school,” said Adam Nedeff, author and researcher for the National Archive of Game Show History at the Strong National Museum of Play in Rochester, New York.\u003c/p>\n\u003cp>Game shows were once shown live, or taped with hardly any interruptions, so the skill of an experienced broadcaster used to those conditions was prized, Nedeff said. Dick Clark would need it when taping 10 episodes of \u003cem>The 10,000 Pyramid\u003c/em> in a day.\u003c/p>\n\u003cp>Trebek similarly had a strong pedigree of television hosting, much of it in Canada, before he became host of \u003cem>Jeopardy!\u003c/em>.\u003c/p>\n\u003ch2>Where’s the pipeline now?\u003c/h2>\n\u003cp>Game shows were once a mainstay of daytime broadcast television, the land of the unhip, but are much less common today. The Game Show Network and Buzzr exist on cable for aficionados, but are heavy on reruns of the classics.\u003c/p>\n\u003cp>And, let’s be honest, who watches, anyway? To create interest in game shows these days, producers look for a name. That makes actors, comics or other celebrities attractive to front these shows (some of which have nevertheless been canceled) — people like Drew Carey (\u003cem>The Price Is Right\u003c/em>), Howie Mandel (\u003cem>Deal or No Deal\u003c/em>), Meredith Vieira (\u003cem>Who Wants to be a Millionaire?\u003c/em>), Wayne Brady (\u003cem>Let’s Make a Deal\u003c/em>), Steve Harvey (\u003cem>Family Feud\u003c/em>), Alec Baldwin (\u003cem>Match Game\u003c/em>), Michael Strahan (\u003cem>The $100,000 Pyramid\u003c/em>) and Mayim Bialik (\u003cem>Jeopardy!\u003c/em>). Ken Jennings wasn’t an actor, but any fan of \u003cem>Jeopardy!\u003c/em> knew who he was.\u003c/p>\n\u003cfigure id=\"attachment_13931007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931007\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png\" alt=\"A woman and man sit opposite each other in red chairs in the middle of a game show set. A Black man in a suit leans in next to them.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.27.25-AM.png 1432w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Strahan, left, with contestants on ‘The $100,000 Pyramid.’ \u003ccite>(Christopher Willard/ ABC via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have a generation of stars who grew up watching game shows,” Nedeff said. “We have just reached a point where nobody sees any shame in hosting a game show.”\u003c/p>\n\u003cp>No one considers a game show low-rent anymore.\u003c/p>\n\u003ch2>And why should they?\u003c/h2>\n\u003cp>Seriously. Trebek would tape two weeks’ worth of shows over two days. There’s only 52 weeks a year, and that didn’t count the show’s vacation periods, for a salary most of us couldn’t conceive of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carey replaced Barker on \u003cem>The Price is Right\u003c/em> in 2007. Soon, many viewers will know him as a game show host instead of an actor and comedian, if they don’t already.\u003c/p>\n\u003ch2>Why would he leave?\u003c/h2>\n\u003cp>Such relatively easy money is why a job like \u003cem>Wheel of Fortune\u003c/em> is coveted; Whoopi Goldberg openly campaigned for the job. And it’s behind the request Jamie Foxx surprised his management with in the 2010s.\u003c/p>\n\u003cp>“Years ago, I was telling my agent, I said, ‘Man, you gotta get a game show,’” Foxx told \u003cem>The Associated Press\u003c/em> in 2019. He succeeded with \u003cem>Beat Shazam\u003c/em>, on the Fox network. Foxx got a payday, and Fox got a bankable star to entice viewers to a new game.\u003c/p>\n\u003cp>Several game shows air in prime time now. Even if networks offer a big check to a star like Foxx, it’s nothing like paying for the writers, directors and actors of a scripted series (to remind you, said writers are now on strike).\u003c/p>\n\u003cfigure id=\"attachment_13931008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png\" alt=\"A woman with glasses and long brown hair stands smiling next to an electronic board displaying the ‘Jeopardy!’ logo. She is wearing a yellow dress and beige suit jacket and clasping her hands together.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-28-at-11.30.10-AM.png 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayim Bialik hosting ‘Jeopardy!’ in 2022. \u003ccite>(Tyler Golden/ CBS Media Ventures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly enough, Seacrest’s career path resembles some of the old-time hosts. Merv Griffin, the legendary game show impresario, even offered him a job hosting a quiz game show for kids when Seacrest was only 23, Nedeff said. Seacrest has experience as a disc jockey, a talk show host, a New Year’s Eve concertmaster and as the longtime host of \u003cem>American Idol\u003c/em>, once television’s biggest sensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unlike many game show hosts of yesteryear, he’s already a celebrity in his own right. \u003cem>Wheel of Fortune\u003c/em> is an empire Sony needs to protect: not just a television show, but video games, a casino game, a live show and an online merchandise store complete with a \u003cem>Wheel\u003c/em> umbrella and silver tote bag.\u003c/p>\n\u003cp>Seacrest, to be sure, is highly unlikely to muck that up.\u003c/p>\n\u003cp>The 48-year-old’s reward is a job he can surely count on as long as he wants to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tune-yards-boots-riley-im-a-virgo",
"title": "How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe",
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"headTitle": "How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe | KQED",
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"content": "\u003cfigure id=\"attachment_13930965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg\" alt=\"a white man and a woman pose on a rock in front of a lake\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Brenner and Merrill Garbus are Tune-Yards, whose experimental indie pop sets the tone for Boots Riley’s new show, ‘I’m A Virgo.’ \u003ccite>(Pooneh Ghana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the many delightfully strange elements packed into \u003ca href=\"https://www.google.com/url?q=https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar&sa=D&source=docs&ust=1687838246775907&usg=AOvVaw1djNgiIIFJwO-81Fyq3ZsQ\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, Boots Riley’s 2018 directorial debut, one could be forgiven for overlooking its musical score. But from start to finish, the vocal-looped compositions created by Tune-Yards (Merrill Garbus and Nate Brenner) play a key role in bringing Riley’s surreal version of Oakland to life.\u003c/p>\n\u003cp>[aside postid='arts_13836455']The same is true in \u003cem>I’m A Virgo\u003c/em>, Riley’s new series for Amazon Prime, which debuted on June 23 to rave reviews. The story, which follows a 13-foot-tall 19-year-old named Cootie (Jharrel Jerome) as he first discovers life outside his house, spans tones and genres; the plot contains elements of a superhero story, a heist movie, a romance, a buddy movie — there’s even an animated show-within-the-show.\u003c/p>\n\u003cp>What’s consistent is the score, which works subtly but powerfully, almost as its own character. No one in modern pop music uses vocals as an instrument quite the way Tune-Yards does. Garbus’ voice surrounds the viewer, becoming a siren, then percussion; it’s layered into a Greek chorus; its timbre shifts nimbly with the show’s mood. The effect here is expansive — it adds weight to the storyline’s central tragedy, brings a light sweetness to Cootie’s experience of falling in love, and imbues action scenes with a colorful, off-kilter urgency.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYfpWY330mM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cem>Virgo\u003c/em> also seems to confirm that Tune-Yards has become the house band for the Boots Riley cinematic universe — the Danny Elfman to his Tim Burton, if you will — which means we can likely expect more from the partnership in years to come. (Riley has said he thinks of \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em> as tracks No. 1 and 2 in a \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-features/boots-riley-interview-im-a-virgo-anti-capitalist-revolution-amazon-prime-1234772623/\">seven- or eight-track “cinematic album.”\u003c/a>)\u003c/p>\n\u003cp>While Garbus and Brenner work on material for a new Tune-Yards record, the score to \u003cem>I’m A Virgo\u003c/em> should be released on vinyl later this year. We called them up to hear more.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: How did you and Boots meet? Were you fans of each other’s work first?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> I believe \u003ca href=\"https://www.instagram.com/gabbylalamusic/?hl=en\">Gabby [La La]\u003c/a>, his wife, liked Tune-Yards, and showed him some of our music. And then maybe he saw us at Stern Grove? But the first time we really met was New Year’s Eve 2012, when he opened for Erykah Badu at the Fox. His energy when he performed was just unbelievable.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus: \u003c/strong>[His son] Django was only a couple months old at the time, and he was like, wearing him, with the little headphones on, hanging out between sets at the Fox.\u003c/p>\n\u003cp>[aside postid='arts_13927554']I grew up on the East Coast, so I only knew of the Coup peripherally, but once I started listening it was just completely up my alley. Coming from where I come from — my grandparents kind of hovered around the communism of New York Jews in the ’40s and ’50s, and I have a background in a lot of the stuff that I was hearing in the music.\u003c/p>\n\u003cp>\u003cstrong>Had you ever scored a film before \u003cem>Sorry to Bother You\u003c/em>? How did that part of your partnership begin?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> He was like “I’m making a movie, and I want you to do the music. Can I send you the screenplay?” A lot of times when people say they want Tune-Yards to score something, they mean they want us to write “Bizness” over again, or they want us to write “Water Fountain” over again. But with Boots, I had a feeling he was like, “No, I want all the weird of you.”\u003c/p>\n\u003cp>Honestly, it sounded too amazing to ever be made into a movie. But I was like, sure, I’ll make some weird music. So we started demoing and recording, and we’d meet at Awaken Cafe and just talk. He wanted a lot of my vocals, and I was using a lot of this harmonizer pedal I was into at that time.\u003c/p>\n\u003cp>But no, we had never scored a film before. If you had asked me before if I wanted to, I probably would have been like “Ha! Sure.” But — maybe because I didn’t go to school for music — it always seemed out of the realm of possibility for me.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CtsDLj7g_oF/?hl=en\u003c/p>\n\u003cp>\u003cstrong>What was your process like for the \u003cem>I’m A Virgo\u003c/em> score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> We had a lot of time before they even started filming, on both \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em>. We uploaded probably 100 demos to a SoundCloud, and he was still writing the script while he was listening to those. So he’d be like, ‘Oh, that was cool, you guys sent me that thing and I changed the script to fit it.’ I think he also wound up playing demos for the cast as they were shooting.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Boots is really clear about the sounds in his head, including instrumentation. When he told us the concept of the show, I was like ‘Oh, do you want superhero music?’ and he was like ‘No, I don’t. Here is what I want.’ And he gave us a couple references that were wildly different than what I ever would have conceived of: carillon bells; the 1956 Japanese film\u003cem> Street of Shame\u003c/em>, with music by [avant-garde composer] Toshiro Mayuzumi; \u003cem>Cape Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Throughout the process he’d text us at, like, midnight on a Sunday, being like “Check this out! I don’t want it to sound \u003cem>like\u003c/em> this, but maybe have a similar vibe…”\u003c/p>\n\u003cfigure id=\"attachment_13931048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg\" alt=\"a man and a woman in a music studio, the woman is wearing headphones and sitting at a computer and giving a thumbs up\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tune-Yards at their studio, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Having a really strong melody was important to him. He didn’t want it to be abstract music. But he also didn’t want it to be repetitive, like in \u003cem>White Lotus\u003c/em> where you hear the theme over and over again and you can’t get it out of your head … so a lot of the intuition about how to be musicians scoring a television show went out the window. As it did with \u003cem>Sorry to Bother You\u003c/em>. We’d be like “Well, typically in movie scores they do this…” and he’d be like, “Erase that from your mind! I don’t want to do typical movie music.”\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Also, he remembers \u003cem>everything\u003c/em>. He’d come over, like, two nights a week after our kid went to bed, and we’d play him something, and he’d give us notes. “OK, what if we tried a tambourine on this one?” And then we’d have a million things to do, and he’s busy, but four weeks later he’d be like “Let’s hear that tambourine.” He’s always throwing out so many ideas, you think he can’t possibly be keeping track of all of them. But he is.\u003c/p>\n\u003cp>https://www.instagram.com/p/CtkKuRkyH8U/\u003c/p>\n\u003cp>\u003cstrong>This show is set in a surreal version of Oakland. Were you consciously thinking about the sound of the Town when you were writing this score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> I think about Oakland and Oakland music traditions all the time, with the discomfort and self-consciousness of not growing up here, having moved here in 2009. I think Nate and Boots share a lot more of the George Clinton and Bootsy [Collins] thing, Nate grew up listening to that music. But I came to the Coup late, I came to E-40 late. I grew up on the East Coast with New York hip-hop and, like, Dave Matthews Band, the music of suburban Connecticut.\u003c/p>\n\u003cp>Which is all to say, with the exception of the our very first record, all our albums — the music that has really made Tune-Yards Tune-Yards — has been when I’ve lived in Oakland, and it’s \u003cem>always\u003c/em> me trying to figure myself out here, myself as a white person here. I almost want to say “as an expat.”[aside postid='arts_13894750']\u003c/p>\n\u003cp>With this show, though, I thought a lot about wanting to honor the fact that he asked \u003cem>us\u003c/em> to do this, he wanted Tune-Yards music. So we’re gonna do Tune-Yards music, knowing that Oakland is being filtered through us. Or maybe we’re being filtered through Oakland. Also, the references he gave us were so out there — like, from a Japanese film from the ’50s. If he wanted music that came from Oakland, he knows how to do that. But he wanted the world. He wants everything.\u003c/p>\n\u003cfigure id=\"attachment_13931049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705-800x534.jpeg\" alt=\"a woman sitting on the floor and a man sitting on a couch in a music studio\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Merrill Garbus and Boots Riley, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were there any particularly challenging scenes or elements?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Definitely the psychic theater [a few segments in which Jones, an organizer played by Kara Young, delivers monologues about capitalism]. The last one is like seven and a half minutes of a character breaking down the exploitative and racist nature of capitalism. It really needs the music to help an audience stick around for that — even though Kara’s acting is amazing, and it’s extremely dynamic. But that’s another problem: how do you use music to move it along and also not get in the way of the dialogue?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lpagmvYZKRc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Those scenes are so wild to watch — for me, there was an element of “I can’t believe this is real, that this is going to be on a TV show distributed by Amazon.”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> It’s definitely the first time I’ve seen an organizer as the main character in a TV show. There are just so many things [in this show that] we haven’t seen in mainstream culture. But there are organizers all over this country. And now someone could see that and think, ‘Oh, I want to do that in my community. I’ve never seen it before.’ It feels really instructive of how to use art in a way that can tap into people’s imaginations, open them up to different futures.\u003c/p>\n\u003cp>I’ll just say I hope this continues to be the time in our lives where we get to keep working with Boots Riley. \u003cem>Sorry to Bother You\u003c/em> was a big change for me, and how I related to music. I think that indie pop, Pitchfork-y world of the mid-2000s that Tune-Yards came up in — I started to feel kind of constricted as an artist, as a creator. And it’s so satisfying to see Boots kind of bloom in pop culture at this particular moment in time. Just to be around him and be part of his creative universe has really opened my mind … It’s reinvigorated my sense of curiosity and inventiveness and wanting to do things that have never been done before.\u003c/p>\n\u003cp>We worked harder on \u003cem>I’m A Virgo\u003c/em> than we have in a really long time, up late at night after our kid went to bed. Even just the amount of music that we wrote … it was all super intense.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner: \u003c/strong>It’s one of those where, when you’re in the middle of it, you’re like, oh, we need a vacation as soon as this is over. But then when it’s over you’re like … what am I doing? And you just want to be working on it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘I’m A Virgo’ is streaming now on Amazon Prime. Tune-Yards is scheduled to perform at Gundlach Bundschu Winery in Sonoma on Aug. 22 and at the Center for the Arts in Grass Valley on Aug. 23; \u003ca href=\"https://tune-yards.com/tourdates/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Oakland indie pop duo discusses their score for the rapper-activist-filmmaker's wild new show, 'I'm A Virgo.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg\" alt=\"a white man and a woman pose on a rock in front of a lake\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Brenner and Merrill Garbus are Tune-Yards, whose experimental indie pop sets the tone for Boots Riley’s new show, ‘I’m A Virgo.’ \u003ccite>(Pooneh Ghana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the many delightfully strange elements packed into \u003ca href=\"https://www.google.com/url?q=https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar&sa=D&source=docs&ust=1687838246775907&usg=AOvVaw1djNgiIIFJwO-81Fyq3ZsQ\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, Boots Riley’s 2018 directorial debut, one could be forgiven for overlooking its musical score. But from start to finish, the vocal-looped compositions created by Tune-Yards (Merrill Garbus and Nate Brenner) play a key role in bringing Riley’s surreal version of Oakland to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The same is true in \u003cem>I’m A Virgo\u003c/em>, Riley’s new series for Amazon Prime, which debuted on June 23 to rave reviews. The story, which follows a 13-foot-tall 19-year-old named Cootie (Jharrel Jerome) as he first discovers life outside his house, spans tones and genres; the plot contains elements of a superhero story, a heist movie, a romance, a buddy movie — there’s even an animated show-within-the-show.\u003c/p>\n\u003cp>What’s consistent is the score, which works subtly but powerfully, almost as its own character. No one in modern pop music uses vocals as an instrument quite the way Tune-Yards does. Garbus’ voice surrounds the viewer, becoming a siren, then percussion; it’s layered into a Greek chorus; its timbre shifts nimbly with the show’s mood. The effect here is expansive — it adds weight to the storyline’s central tragedy, brings a light sweetness to Cootie’s experience of falling in love, and imbues action scenes with a colorful, off-kilter urgency.\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/DYfpWY330mM'\n title='//www.youtube.com/embed/DYfpWY330mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cem>Virgo\u003c/em> also seems to confirm that Tune-Yards has become the house band for the Boots Riley cinematic universe — the Danny Elfman to his Tim Burton, if you will — which means we can likely expect more from the partnership in years to come. (Riley has said he thinks of \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em> as tracks No. 1 and 2 in a \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-features/boots-riley-interview-im-a-virgo-anti-capitalist-revolution-amazon-prime-1234772623/\">seven- or eight-track “cinematic album.”\u003c/a>)\u003c/p>\n\u003cp>While Garbus and Brenner work on material for a new Tune-Yards record, the score to \u003cem>I’m A Virgo\u003c/em> should be released on vinyl later this year. We called them up to hear more.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: How did you and Boots meet? Were you fans of each other’s work first?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> I believe \u003ca href=\"https://www.instagram.com/gabbylalamusic/?hl=en\">Gabby [La La]\u003c/a>, his wife, liked Tune-Yards, and showed him some of our music. And then maybe he saw us at Stern Grove? But the first time we really met was New Year’s Eve 2012, when he opened for Erykah Badu at the Fox. His energy when he performed was just unbelievable.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus: \u003c/strong>[His son] Django was only a couple months old at the time, and he was like, wearing him, with the little headphones on, hanging out between sets at the Fox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I grew up on the East Coast, so I only knew of the Coup peripherally, but once I started listening it was just completely up my alley. Coming from where I come from — my grandparents kind of hovered around the communism of New York Jews in the ’40s and ’50s, and I have a background in a lot of the stuff that I was hearing in the music.\u003c/p>\n\u003cp>\u003cstrong>Had you ever scored a film before \u003cem>Sorry to Bother You\u003c/em>? How did that part of your partnership begin?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> He was like “I’m making a movie, and I want you to do the music. Can I send you the screenplay?” A lot of times when people say they want Tune-Yards to score something, they mean they want us to write “Bizness” over again, or they want us to write “Water Fountain” over again. But with Boots, I had a feeling he was like, “No, I want all the weird of you.”\u003c/p>\n\u003cp>Honestly, it sounded too amazing to ever be made into a movie. But I was like, sure, I’ll make some weird music. So we started demoing and recording, and we’d meet at Awaken Cafe and just talk. He wanted a lot of my vocals, and I was using a lot of this harmonizer pedal I was into at that time.\u003c/p>\n\u003cp>But no, we had never scored a film before. If you had asked me before if I wanted to, I probably would have been like “Ha! Sure.” But — maybe because I didn’t go to school for music — it always seemed out of the realm of possibility for me.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>What was your process like for the \u003cem>I’m A Virgo\u003c/em> score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> We had a lot of time before they even started filming, on both \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em>. We uploaded probably 100 demos to a SoundCloud, and he was still writing the script while he was listening to those. So he’d be like, ‘Oh, that was cool, you guys sent me that thing and I changed the script to fit it.’ I think he also wound up playing demos for the cast as they were shooting.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Boots is really clear about the sounds in his head, including instrumentation. When he told us the concept of the show, I was like ‘Oh, do you want superhero music?’ and he was like ‘No, I don’t. Here is what I want.’ And he gave us a couple references that were wildly different than what I ever would have conceived of: carillon bells; the 1956 Japanese film\u003cem> Street of Shame\u003c/em>, with music by [avant-garde composer] Toshiro Mayuzumi; \u003cem>Cape Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Throughout the process he’d text us at, like, midnight on a Sunday, being like “Check this out! I don’t want it to sound \u003cem>like\u003c/em> this, but maybe have a similar vibe…”\u003c/p>\n\u003cfigure id=\"attachment_13931048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg\" alt=\"a man and a woman in a music studio, the woman is wearing headphones and sitting at a computer and giving a thumbs up\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tune-Yards at their studio, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Having a really strong melody was important to him. He didn’t want it to be abstract music. But he also didn’t want it to be repetitive, like in \u003cem>White Lotus\u003c/em> where you hear the theme over and over again and you can’t get it out of your head … so a lot of the intuition about how to be musicians scoring a television show went out the window. As it did with \u003cem>Sorry to Bother You\u003c/em>. We’d be like “Well, typically in movie scores they do this…” and he’d be like, “Erase that from your mind! I don’t want to do typical movie music.”\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Also, he remembers \u003cem>everything\u003c/em>. He’d come over, like, two nights a week after our kid went to bed, and we’d play him something, and he’d give us notes. “OK, what if we tried a tambourine on this one?” And then we’d have a million things to do, and he’s busy, but four weeks later he’d be like “Let’s hear that tambourine.” He’s always throwing out so many ideas, you think he can’t possibly be keeping track of all of them. But he is.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This show is set in a surreal version of Oakland. Were you consciously thinking about the sound of the Town when you were writing this score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> I think about Oakland and Oakland music traditions all the time, with the discomfort and self-consciousness of not growing up here, having moved here in 2009. I think Nate and Boots share a lot more of the George Clinton and Bootsy [Collins] thing, Nate grew up listening to that music. But I came to the Coup late, I came to E-40 late. I grew up on the East Coast with New York hip-hop and, like, Dave Matthews Band, the music of suburban Connecticut.\u003c/p>\n\u003cp>Which is all to say, with the exception of the our very first record, all our albums — the music that has really made Tune-Yards Tune-Yards — has been when I’ve lived in Oakland, and it’s \u003cem>always\u003c/em> me trying to figure myself out here, myself as a white person here. I almost want to say “as an expat.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With this show, though, I thought a lot about wanting to honor the fact that he asked \u003cem>us\u003c/em> to do this, he wanted Tune-Yards music. So we’re gonna do Tune-Yards music, knowing that Oakland is being filtered through us. Or maybe we’re being filtered through Oakland. Also, the references he gave us were so out there — like, from a Japanese film from the ’50s. If he wanted music that came from Oakland, he knows how to do that. But he wanted the world. He wants everything.\u003c/p>\n\u003cfigure id=\"attachment_13931049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705-800x534.jpeg\" alt=\"a woman sitting on the floor and a man sitting on a couch in a music studio\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Merrill Garbus and Boots Riley, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were there any particularly challenging scenes or elements?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Definitely the psychic theater [a few segments in which Jones, an organizer played by Kara Young, delivers monologues about capitalism]. The last one is like seven and a half minutes of a character breaking down the exploitative and racist nature of capitalism. It really needs the music to help an audience stick around for that — even though Kara’s acting is amazing, and it’s extremely dynamic. But that’s another problem: how do you use music to move it along and also not get in the way of the dialogue?\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/lpagmvYZKRc'\n title='//www.youtube.com/embed/lpagmvYZKRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Those scenes are so wild to watch — for me, there was an element of “I can’t believe this is real, that this is going to be on a TV show distributed by Amazon.”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> It’s definitely the first time I’ve seen an organizer as the main character in a TV show. There are just so many things [in this show that] we haven’t seen in mainstream culture. But there are organizers all over this country. And now someone could see that and think, ‘Oh, I want to do that in my community. I’ve never seen it before.’ It feels really instructive of how to use art in a way that can tap into people’s imaginations, open them up to different futures.\u003c/p>\n\u003cp>I’ll just say I hope this continues to be the time in our lives where we get to keep working with Boots Riley. \u003cem>Sorry to Bother You\u003c/em> was a big change for me, and how I related to music. I think that indie pop, Pitchfork-y world of the mid-2000s that Tune-Yards came up in — I started to feel kind of constricted as an artist, as a creator. And it’s so satisfying to see Boots kind of bloom in pop culture at this particular moment in time. Just to be around him and be part of his creative universe has really opened my mind … It’s reinvigorated my sense of curiosity and inventiveness and wanting to do things that have never been done before.\u003c/p>\n\u003cp>We worked harder on \u003cem>I’m A Virgo\u003c/em> than we have in a really long time, up late at night after our kid went to bed. Even just the amount of music that we wrote … it was all super intense.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner: \u003c/strong>It’s one of those where, when you’re in the middle of it, you’re like, oh, we need a vacation as soon as this is over. But then when it’s over you’re like … what am I doing? And you just want to be working on it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>‘I’m A Virgo’ is streaming now on Amazon Prime. Tune-Yards is scheduled to perform at Gundlach Bundschu Winery in Sonoma on Aug. 22 and at the Center for the Arts in Grass Valley on Aug. 23; \u003ca href=\"https://tune-yards.com/tourdates/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "After the BET Awards, a Look Back at How the Network Helped Hip-Hop Grow",
"headTitle": "After the BET Awards, a Look Back at How the Network Helped Hip-Hop Grow | KQED",
"content": "\u003cp>\u003cem>Rap City. 106 & Park\u003c/em>. And even, \u003cem>Uncut\u003c/em>.\u003c/p>\n\u003cp>From innovative to provocative, BET has played a crucial role in creating several influential programs that helped spread hip-hop to millions of homes across the globe. Other than its rival show \u003cem>Yo! MTV Raps\u003c/em>, the network known as Black Entertainment Television took up the mantle — despite some reluctance — to showcase a misunderstood rap culture decades before it became today’s most popular music genre.\u003c/p>\n\u003cp>[aside postid='arts_13929900']For many, BET became a safe place for those within hip-hop to express their artistry, although not without criticism. Through it all, the network has been a mainstay for established and emerging rap artists.\u003c/p>\n\u003cp>It all came together during the BET Awards on Sunday. Show officials celebrated the genre’s 50th anniversary during the telecast dubbed as a “non-stop Hip-Hop Party.” It also comes at a pivotal time for the network, which will be soon be sold. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen and rapper-entrepreneur Diddy, are interested in purchasing the network.\u003c/p>\n\u003cp>The new owner will acquire an important cultural fixture, one whose success was partially built on how it elevated hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13930909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg\" alt=\"An attractive middle-aged Black man smiles on a red carpet. He is wearing black-rimmed glasses and a tuxedo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Perry in 2022. The entrepreneur has expressed an interest in purchasing BET. \u003ccite>(Axelle/Bauer-Griffin/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“BET was a big platform for hip-hop and urban music overall,” said E-40. His song “Tired of Being Stepped On” with the rap group The Click appeared on BET’s \u003cem>Video Soul,\u003c/em> which was created in 1981 at a time when MTV refused to play videos by most African Americans. The rapper recalled how guest host Jamie Foxx dissed The Click’s song but the comedian’s critical words didn’t faze him. He felt his group gained important exposure to promote their “unorthodox” West Coast rap style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The network really stepped up. We needed that,” said E-40, who also made a few appearances on another BET show called \u003cem>Rap City\u003c/em>, which featured hip-hop music videos, interviews and freestyles booth sessions with big names including Jay-Z, Lil Wayne and MC Lyte. The show, which highlighted popular and up-and-coming rappers, became the longest-running hip-hop TV show in history.\u003cbr>\nE-40 credited BET founder Robert Johnson for giving hip-hop a chance. Johnson built the brand into the leading TV network for Black Americans in hopes of creating content geared toward jazz, comedy and gospel. But at the time, he and other founders were unsure about featuring a rap show, believing the genre would be short lived.\u003c/p>\n\u003cp>Rival MTV’s \u003cem>Yo! MTV Raps\u003c/em>, however, showed that hip-hop had staying power.\u003c/p>\n\u003cfigure id=\"attachment_13930910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg\" alt=\"A rapper performs on stage with a small crowd behind him. He wears a bucket hat, sunglasses and large gold medallion.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at the 2023 BET Awards in Los Angeles. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO.\u003c/p>\n\u003cp>“They rapidly embraced hip-hop as part of the mission of BET,” he said. “You went from BET having shows with no hip-hop artists or music to artists and music starting to trickle through shows to this full evolution of creating dedicated shows, celebrating hip-hop music, artists and culture.”\u003c/p>\n\u003cp>[aside postid='arts_13927349']BET’s decision to embrace hip-hop literally paid off: Johnson and his then-wife, Sheila, sold the network to Viacom in 2000 for $3 billion — which made them the nation’s first Black billionaires. He remained CEO until 2006.\u003c/p>\n\u003cp>After the sale, BET continued to beef up its content with reality shows and the network’s flagship program \u003cem>106 & Park\u003c/em>, a weekday show that started in 2000 and lasted for more than a decade. The show thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards then the BET Hip-Hop Awards.\u003c/p>\n\u003cp>For Lil Jon, he certainly benefitted from appearing on \u003cem>106 & Park\u003c/em>. One day, the rapper-producer joined the show’s audience during the time when he had a hard time getting music on BET.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9BeuGfuFIA8\u003c/p>\n\u003cp>Lil Jon had no clue \u003cem>106 & Park\u003c/em> co-host A.J. Calloway would notice him sitting in the crowd before he shouted out his name. The exposure helped him become more recognizable, particularly to the BET brass — who he says initially struggled to grasp the concept of his crunk music, which eventually gained mainstream appeal.\u003c/p>\n\u003cp>“We strived to be on \u003cem>Rap City.\u003c/em> We strived to be on \u003cem>106 & Park\u003c/em>,” Lil Jon said. “A.J. knew who I was, because he would go to the South and host things. He knew the power of my music … They would show me in the audience throughout the whole show. It was what they call an impression in the advertising world. It was a way for me to be around people at BET. They started to see and get familiar with me, and they wanted to look out for me. BET was just a place where we would get support from our community.”\u003c/p>\n\u003cp>[aside postid='arts_13929861']Like Lil Jon, other hip-hop artists took advantage of the exposure from BET — which often highlighted positive images of Black people through shows such as \u003cem>Teen Summit\u003c/em> and \u003cem>106 & Park\u003c/em>. But in the early-2000s, the network started to take an odd turn as several popular figures — from filmmaker Spike Lee to Public Enemy’s Chuck D — heavily criticized the channel’s content for depicting African Americans in a negative light.\u003c/p>\n\u003cp>Many took aim at the now-defunct \u003cem>BET: Uncut\u003c/em>, a late-night mature program that contained highly sexual content such as Ludacris’ “Booty Poppin” music video. The tipping point came after Nelly’s “Tip Drill” video featured women simulating sex acts with themselves while men grabbed their bodies.\u003c/p>\n\u003cp>\u003cem>Uncut\u003c/em> normally finished airing early Sunday just hours before the network’s faith-based programs began.\u003c/p>\n\u003cp>At the time, Big Boi of Outkast was taken aback by some of the raunchy content, calling it “distasteful” and “soft porn.” Other political figures and activists showed their displeasure. Co-founder Sheila Johnson even said in a 2010 interview that she was ashamed of BET, suggesting that no one, including her own children, should watch the channel.\u003c/p>\n\u003cp>After the backlash, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as \u003cem>Reed Between the Lines\u003c/em> and \u003cem>Let’s\u003c/em> \u003cem>Stay Together\u003c/em>.\u003c/p>\n\u003cp>“If you look at it, hip-hop is like a huge family,” said Roxanne Shante. “You’re going to have family members that do things that’s necessarily not my thing.”\u003c/p>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But who am I to criticize what they go through? It’s a form of expression,” said the “Roxanne’s Revenge” rapper. “I think BET has shown its ability to go with that form of expression. Now, people are expressing themselves in a different way. And now, they cater to a different audience and started to show different programming.”\u003c/p>\n\u003cp>[aside postid='arts_13925931']Despite controversy, Mills said a symbolic relationship was kept between BET and the hip-hop community. He said the network has a chance to break new artists through the BET Hip-Hop Awards while showcasing the more popular ones at the BET Awards. He shouted out veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards this year.\u003c/p>\n\u003cp>“When you look at artists today, they’re profoundly talented,” he said. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”\u003c/p>\n\u003cp>Mills said BET is exploring ways to bring back \u003cem>106 & Park\u003c/em> as a possible residency live show.\u003c/p>\n\u003cp>With a new buyer looking to purchase BET soon, the network’s future focus and how much it emphasizes hip-hop will be closely watched.\u003c/p>\n\u003cfigure id=\"attachment_13930912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg\" alt=\"A bald Black man stands on a red carpet wearing white pants and a polo jersey. He is clasping his hands together.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short arrives at the 2023 BET Awards in Los Angeles. \u003ccite>(Aaron J. Thornton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapper Too Short said BET should continue to serve the Black community’s needs.\u003c/p>\n\u003cp>“\u003cem>Teen Summit\u003c/em> was the best show ever,” he said. “Just for kids to sit there and have an intellectual conversation every Saturday morning. That was amazing to see Black kids thinking intelligently and debating with each other and an audience tapping in.\u003c/p>\n\u003cp>“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Rap City. 106 & Park\u003c/em>. And even, \u003cem>Uncut\u003c/em>.\u003c/p>\n\u003cp>From innovative to provocative, BET has played a crucial role in creating several influential programs that helped spread hip-hop to millions of homes across the globe. Other than its rival show \u003cem>Yo! MTV Raps\u003c/em>, the network known as Black Entertainment Television took up the mantle — despite some reluctance — to showcase a misunderstood rap culture decades before it became today’s most popular music genre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For many, BET became a safe place for those within hip-hop to express their artistry, although not without criticism. Through it all, the network has been a mainstay for established and emerging rap artists.\u003c/p>\n\u003cp>It all came together during the BET Awards on Sunday. Show officials celebrated the genre’s 50th anniversary during the telecast dubbed as a “non-stop Hip-Hop Party.” It also comes at a pivotal time for the network, which will be soon be sold. Several Black entrepreneurs and celebrities, including Tyler Perry, media executive Byron Allen and rapper-entrepreneur Diddy, are interested in purchasing the network.\u003c/p>\n\u003cp>The new owner will acquire an important cultural fixture, one whose success was partially built on how it elevated hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13930909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg\" alt=\"An attractive middle-aged Black man smiles on a red carpet. He is wearing black-rimmed glasses and a tuxedo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1436964378-scaled-e1687805985366.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Perry in 2022. The entrepreneur has expressed an interest in purchasing BET. \u003ccite>(Axelle/Bauer-Griffin/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“BET was a big platform for hip-hop and urban music overall,” said E-40. His song “Tired of Being Stepped On” with the rap group The Click appeared on BET’s \u003cem>Video Soul,\u003c/em> which was created in 1981 at a time when MTV refused to play videos by most African Americans. The rapper recalled how guest host Jamie Foxx dissed The Click’s song but the comedian’s critical words didn’t faze him. He felt his group gained important exposure to promote their “unorthodox” West Coast rap style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The network really stepped up. We needed that,” said E-40, who also made a few appearances on another BET show called \u003cem>Rap City\u003c/em>, which featured hip-hop music videos, interviews and freestyles booth sessions with big names including Jay-Z, Lil Wayne and MC Lyte. The show, which highlighted popular and up-and-coming rappers, became the longest-running hip-hop TV show in history.\u003cbr>\nE-40 credited BET founder Robert Johnson for giving hip-hop a chance. Johnson built the brand into the leading TV network for Black Americans in hopes of creating content geared toward jazz, comedy and gospel. But at the time, he and other founders were unsure about featuring a rap show, believing the genre would be short lived.\u003c/p>\n\u003cp>Rival MTV’s \u003cem>Yo! MTV Raps\u003c/em>, however, showed that hip-hop had staying power.\u003c/p>\n\u003cfigure id=\"attachment_13930910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg\" alt=\"A rapper performs on stage with a small crowd behind him. He wears a bucket hat, sunglasses and large gold medallion.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502095663-scaled-e1687806273125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at the 2023 BET Awards in Los Angeles. \u003ccite>(Paras Griffin/Getty Images for BET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After kind of a brief initial hesitancy, the founders of BET really understood how hip-hop was transforming culture overall and specifically Black entertainment,” said Scott M. Mills, BET’s president and CEO.\u003c/p>\n\u003cp>“They rapidly embraced hip-hop as part of the mission of BET,” he said. “You went from BET having shows with no hip-hop artists or music to artists and music starting to trickle through shows to this full evolution of creating dedicated shows, celebrating hip-hop music, artists and culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>BET’s decision to embrace hip-hop literally paid off: Johnson and his then-wife, Sheila, sold the network to Viacom in 2000 for $3 billion — which made them the nation’s first Black billionaires. He remained CEO until 2006.\u003c/p>\n\u003cp>After the sale, BET continued to beef up its content with reality shows and the network’s flagship program \u003cem>106 & Park\u003c/em>, a weekday show that started in 2000 and lasted for more than a decade. The show thrived with a video countdown, interviews and performances. A year later, the network started the BET Awards then the BET Hip-Hop Awards.\u003c/p>\n\u003cp>For Lil Jon, he certainly benefitted from appearing on \u003cem>106 & Park\u003c/em>. One day, the rapper-producer joined the show’s audience during the time when he had a hard time getting music on BET.\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/9BeuGfuFIA8'\n title='//www.youtube.com/embed/9BeuGfuFIA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lil Jon had no clue \u003cem>106 & Park\u003c/em> co-host A.J. Calloway would notice him sitting in the crowd before he shouted out his name. The exposure helped him become more recognizable, particularly to the BET brass — who he says initially struggled to grasp the concept of his crunk music, which eventually gained mainstream appeal.\u003c/p>\n\u003cp>“We strived to be on \u003cem>Rap City.\u003c/em> We strived to be on \u003cem>106 & Park\u003c/em>,” Lil Jon said. “A.J. knew who I was, because he would go to the South and host things. He knew the power of my music … They would show me in the audience throughout the whole show. It was what they call an impression in the advertising world. It was a way for me to be around people at BET. They started to see and get familiar with me, and they wanted to look out for me. BET was just a place where we would get support from our community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like Lil Jon, other hip-hop artists took advantage of the exposure from BET — which often highlighted positive images of Black people through shows such as \u003cem>Teen Summit\u003c/em> and \u003cem>106 & Park\u003c/em>. But in the early-2000s, the network started to take an odd turn as several popular figures — from filmmaker Spike Lee to Public Enemy’s Chuck D — heavily criticized the channel’s content for depicting African Americans in a negative light.\u003c/p>\n\u003cp>Many took aim at the now-defunct \u003cem>BET: Uncut\u003c/em>, a late-night mature program that contained highly sexual content such as Ludacris’ “Booty Poppin” music video. The tipping point came after Nelly’s “Tip Drill” video featured women simulating sex acts with themselves while men grabbed their bodies.\u003c/p>\n\u003cp>\u003cem>Uncut\u003c/em> normally finished airing early Sunday just hours before the network’s faith-based programs began.\u003c/p>\n\u003cp>At the time, Big Boi of Outkast was taken aback by some of the raunchy content, calling it “distasteful” and “soft porn.” Other political figures and activists showed their displeasure. Co-founder Sheila Johnson even said in a 2010 interview that she was ashamed of BET, suggesting that no one, including her own children, should watch the channel.\u003c/p>\n\u003cp>After the backlash, BET took a new approach. The company researched what their viewers wanted to see and created a lineup of more family-oriented shows such as \u003cem>Reed Between the Lines\u003c/em> and \u003cem>Let’s\u003c/em> \u003cem>Stay Together\u003c/em>.\u003c/p>\n\u003cp>“If you look at it, hip-hop is like a huge family,” said Roxanne Shante. “You’re going to have family members that do things that’s necessarily not my thing.”\u003c/p>\n\u003cfigure id=\"attachment_13930911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg\" alt=\"A Black woman stands onstage smiling broadly. She is wearing an off the shoulder red gown and holding her hands out in a half shrug.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1491748126-scaled-e1687807323886.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roxanne Shante at the 2023 Black Music Honors in Atlanta, Georgia. \u003ccite>(Nykieria Chaney/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But who am I to criticize what they go through? It’s a form of expression,” said the “Roxanne’s Revenge” rapper. “I think BET has shown its ability to go with that form of expression. Now, people are expressing themselves in a different way. And now, they cater to a different audience and started to show different programming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite controversy, Mills said a symbolic relationship was kept between BET and the hip-hop community. He said the network has a chance to break new artists through the BET Hip-Hop Awards while showcasing the more popular ones at the BET Awards. He shouted out veteran rapper and Oscar-nominated actor Queen Latifah, who recently hosted the NAACP Image Awards this year.\u003c/p>\n\u003cp>“When you look at artists today, they’re profoundly talented,” he said. “The evolution of people deciding how they want to show up to the world is something that ultimately, I think we have to embrace. One thing about hip-hop, it’s always changing. We’re in the moment today, and that moment will evolve to whatever comes next.”\u003c/p>\n\u003cp>Mills said BET is exploring ways to bring back \u003cem>106 & Park\u003c/em> as a possible residency live show.\u003c/p>\n\u003cp>With a new buyer looking to purchase BET soon, the network’s future focus and how much it emphasizes hip-hop will be closely watched.\u003c/p>\n\u003cfigure id=\"attachment_13930912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg\" alt=\"A bald Black man stands on a red carpet wearing white pants and a polo jersey. He is clasping his hands together.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1502158893-scaled-e1687807420908.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too Short arrives at the 2023 BET Awards in Los Angeles. \u003ccite>(Aaron J. Thornton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rapper Too Short said BET should continue to serve the Black community’s needs.\u003c/p>\n\u003cp>“\u003cem>Teen Summit\u003c/em> was the best show ever,” he said. “Just for kids to sit there and have an intellectual conversation every Saturday morning. That was amazing to see Black kids thinking intelligently and debating with each other and an audience tapping in.\u003c/p>\n\u003cp>“I don’t know why anybody doesn’t think that kind of programming is needed right now. I think BET just needs to be the community. Don’t show me an aspect. The whole thing. Be Black entertainment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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