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"content": "\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>[aside postid='arts_13921169']For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. 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I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\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/o6gD9_akew0'\n title='//www.youtube.com/embed/o6gD9_akew0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘More Than Past Due’: Erika Alexander on Reparations and ‘The Big Payback’",
"headTitle": "‘More Than Past Due’: Erika Alexander on Reparations and ‘The Big Payback’ | KQED",
"content": "\u003cp>California may be \u003ca href=\"https://www.kqed.org/reparations\">the first state to study reparations for Black people\u003c/a>, but at the municipal level, Evanston, Ill., leads the country. In 2019, the city became the first in the United States to approve a program to redress the harms of segregation and housing discrimination endured by Black people since emancipation.\u003c/p>\n\u003cp>Evanston’s $10 million package, funded through a tax on recreational cannabis sales, will be dispersed for reparations initiatives over the span of 10 years to residents who qualify. In January of this year, 16 recipients, who were selected through a lottery, received $25,000 housing grants.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"news_11916026,news_11925020\"]Evanston’s success and the ongoing fight for reparations in Congress both get a closer look in \u003ci>The Big Payback\u003c/i>, a documentary that premiered at the Tribeca Festival earlier this year; it debuts on PBS/KQED 9 on Jan. 19, 2023. It’s co-directed by filmmaker Whitney Dow and actor and activist Erika Alexander, best known for bringing the beloved character Maxine Shaw (Attorney at Law!) to life on the ’90s sitcom \u003cem>Living Single\u003c/em>.\u003c/p>\n\u003cp>KQED talked with Alexander about the film, her activism and how her character Maxine Shaw inspired many Black women to pursue law and politics.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>KQED: What sparked the idea for \u003ci>The Big Payback\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Erika Alexander:\u003c/strong> I’ve been doing work within advocacy and activism for quite a while. I was Hillary Clinton’s most traveled surrogate for 2007 and 2016. I met Ben Arnon, who was a Barack Obama delegate, in 2008, and we started a company called Color Farm Media. Our goal was to represent underestimated, marginalized voices.\u003c/p>\n\u003cp>Our first film was the documentary \u003ca href=\"https://www.youtube.com/watch?v=z_oEkOdIXdo\">\u003ci>John Lewis: Good Trouble\u003c/i>\u003c/a>. After that, we wanted to do something about reparations. Whitney Dow — my white, male co-director — and I started at the Congressional reparations hearing in 2019, with Sheila Jackson Lee [and the bill] HR 40. While we were filming, we got a message from our producer, Zane Parker, who told us about Evanston and Robin Rue Simmons, the woman who passed the first \u003ca href=\"https://www.washingtonpost.com/national/evanston-illinois-reparations/2021/03/22/6b5a308c-8b2d-11eb-9423-04079921c915_story.html\">tax-funded reparations bill\u003c/a> in America. So we went to Evanston, and decided to change our entire P.O.V.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wmIyxpxboTs\u003c/p>\n\u003cp>\u003cstrong>What stood out to you about Robin Rue Simmons, who was a local alderwoman at the time you filmed her?\u003c/strong>\u003c/p>\n\u003cp>She’s an amazing young woman who I don’t think really knew much about the reparations arena, but she had been inspired by a trip that she took to Africa. And so she proposed the idea of a reparations bill. And one of her councilwomen said, well, there’s a new tax on cannabis — and that gave them the necessary ammunition and the actual funding.\u003c/p>\n\u003cp>They passed it with a mostly white council. From there was the tough job of how to implement it, and to whom, and she hadn’t really thought of those things. But I think because she didn’t know much about it, and she just knew she had the energy and they had these new funds, they got it done. She’s pretty phenomenal. She was just determined.\u003c/p>\n\u003cfigure id=\"attachment_13921541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg\" alt=\"a scene from a film shows a Black man and a Black woman discussing legislation at a table\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former Evanston, Ill. Alderwoman Robin Rue Simmons in ‘The Big Payback.’ \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The vice chair of California’s Task Force, longtime civil rights leader Amos Brown, has spoken about three “A’s” — \u003ci>admitting\u003c/i> the problems of the past; \u003ci>atoning\u003c/i> for them with reparations; and then \u003ci>acting\u003c/i> in a unified way that ensures the plans get carried out. Especially at the federal level, it seems like we’re still working on the first step.\u003c/strong>\u003c/p>\n\u003cp>When I started this journey, I mistook the reparations movement for a personal admission and an apology, or payment toward the moral debt, toward me as an African American and my fellow African Americans. But now I’m convinced because of the work, and I’ve been educated by experts on the issue, that that’s a very limited point of view. This debt resides within the fabric of America. So racism, all the residual evils that reside within the DNA — redlining, terrorism, all sorts of horrible, ugly things — are not an individual obligation to pay. It is for the government to admit, apologize and then make reparations.\u003c/p>\n\u003cp>So however we’re talking about this, we all need to educate ourselves, because it’s going to be a lengthy process if we don’t come to the point where this is not about charity — as a woman so wonderfully puts it in the movie — it’s about justice. We are owed. We are more than past due.\u003c/p>\n\u003cp>\u003cstrong>What roadblocks did Rue Simmons and her allies have to navigate?\u003c/strong>\u003c/p>\n\u003cp>The biggest roadblock is money. Funding. The other big roadblock is the natural pushback that people feel — that “this is in the past and we shouldn’t have to address it,” or “they should have addressed it back then.” And they tried with the First Reconstruction. But we know that after Abraham Lincoln died, and \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15/\">Sherman’s Special Field Order 15\u003c/a> was rescinded and we got Andrew Johnson, that Black people had no more power and they were pushed out of the power they had. And then it was just decades of them really suffering a different type of slavery and being unyolked from the system.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Erika Alexander\"]‘I believe that unless we [make reparations], America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.’[/pullquote]To ask people who had no power “Why didn’t they get [reparations] then?” is absurd. But there were people who did [fight for reparations]. \u003ca href=\"https://www.usf.edu/cbcs/documents/marketing/communique/callie-house.pdf\">Callie House\u003c/a> and \u003ca href=\"https://www.aaihs.org/audley-moore-black-womens-activism-and-nationalist-politics/\">Queen Mother Moore\u003c/a> and all sorts of figures came in. \u003ca href=\"https://www.history.com/topics/black-history/marcus-garvey\">Marcus Garvey\u003c/a> trying to get reparations and restitutions and repairs. It’s a long history.\u003c/p>\n\u003cp>\u003cstrong>Rep. Sheila Jackson Lee of Texas is also a key figure in the documentary. Can you talk about her work on a federal level?\u003c/strong>\u003c/p>\n\u003cp>She took up a bill, \u003ca href=\"https://www.congress.gov/bill/117th-congress/house-bill/40\">HR 40\u003c/a>, that was introduced into Congress by John Conyers from Detroit, simply trying to study reparations. [If the resolution had passed] they would have had the power to go into all sorts of institutions, backlogs and libraries and see the case for reparations. And they did not get that through at all.\u003c/p>\n\u003cp>In 2020, she made progress, but then \u003ca href=\"https://andscape.com/features/h-r-40-the-federal-bill-to-study-reparations-appears-stalled-once-again/\">it stalled again\u003c/a>, because she didn’t have the votes to move it forward. Now, an executive decision from Biden could bypass all of that. And we were all hoping that would happen. But because reparations is such a controversial subject … there’s a lot of people who would have to own up to [the history]. There’s been a lot of pushback.\u003c/p>\n\u003cp>So that’s what she’s been doing, and that’s what she’ll continue to do, and hopefully get the political will. Mostly, this president should sign an executive decision to get on to what’s right. Because I really believe that unless we do that, America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.\u003c/p>\n\u003cfigure id=\"attachment_13921550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg\" alt=\"a press conference on Capitol Hill; a Black man stands next to a Black woman speaking at a podium\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rep. Danny K. Davis listens as Rep. Sheila Jackson Lee speaks at a press conference on HR 40, which would create a commission to study and develop reparation proposals for African Americans, on Nov. 16, 2021. \u003ccite>(Anna Moneymaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rue Simmons was an alderwoman, a local government official, at the time you filmed her. Can you talk about the significance of her holding local office during that fight?\u003c/strong>\u003c/p>\n\u003cp>They say everything is about “the local weather.” And it’s true. You’re always looking at the national political willpower or what’s on the [national] ballot because it’s sexy. But everything happens at a local level first. And we’re starting to understand that, if you look at the race in Georgia with Stacey Abrams and [Brian] Kemp, and with [Raphael] Warnock and Herschel Walker, they’re seeing how very directly they’ll either progress or regress, depending on what they choose.\u003c/p>\n\u003cp>One of the things I’ll never forget [is] Hillary Clinton warning that they would turn back Roe v. Wade. And at the time, I thought ‘That’s a little bit too much, don’t you think?’ But everything she said was right. They did turn back Roe v. Wade. So here we are locally trying to, state by state, protect women’s right to choose. And people can now see that nothing is sacrosanct. I think that we’re all getting a really good lesson about participating in local elections.\u003c/p>\n\u003cp>\u003cstrong>You played a fictional alderwoman and attorney as Maxine Shaw in the ’90s hit \u003ci>Living Single\u003c/i> — my favorite show of all time. And that character has been influential to real-life political figures: Stacey Abrams, Rep. Ayanna Pressley and the state attorney in Baltimore, Marilyn Mosby, have all said they were inspired by that character. Were you also inspired by getting to play a local official?\u003c/strong>\u003c/p>\n\u003cp>You know what’s funny? There are no alderwomen in Brooklyn [where \u003ci>Living Single\u003c/i> took place]! Only Chicago and other places. I didn’t know that then. And I don’t think Yvette Lee Bowser, who created the show, did either. I did like doing that. And [that character] was definitely somebody who was bold.\u003c/p>\n\u003cp>But I’m more inspired by people like you, and Ayanna Pressley, Stacey Abrams, and some of the really fantastic young Black women I meet that are so sure of their mission and their commitment to life. I got a chance to campaign with [activist and media strategist] Jehmu Greene, who taught me all that I know about local politics and how to speak to people. I got a chance to campaign with Sheila Jackson Lee and with Ayanna and Stacey and John Lewis. And each time I do, I learn something. I’m like a sponge. I’m meant to be a mimic and then go and put it somewhere else.\u003c/p>\n\u003cp>I was just watching a movie I did when I was 19, called \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0_DZnX22XjM\">Common Ground\u003c/a>,\u003c/i> about the Boston bussing. It was as horrible and stressful to look at as anything you might see down South — I think they wanted to make the point that the South wasn’t the only place that pushed back [on integration]. I remember getting so sick and stressed on set and breaking out, not being able to stand for long periods. And I didn’t think then that it was the role or the subject. But now I’ve been realizing that I’ve been doing my work inside of racial and social justice issues for my entire career.\u003c/p>\n\u003cp>I look at \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0FJSosGKclM\">The Long Walk Home\u003c/a>.\u003c/i> There I was, Selma, getting on the bus. I learned from each one of these people. But it’s also because of the people I worked with previously, [like] Phylicia Rashad. I worked with the great Cicely Tyson, Lorraine Toussaint, Gloria Foster. They were killers, and they taught me how to be — not only to be a woman, but to be a strong person. That’s what you see in these roles.\u003c/p>\n\u003cfigure id=\"attachment_13921542\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\" alt=\"a white man and a Black woman smile in a portrait on a staircase\" width=\"750\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen-160x101.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Color Farm Media co-founders Ben Arnon and Erika Alexander. \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now you’ve added director to your roles. Can you share more about your goals with Color Farm Media?\u003c/strong>\u003c/p>\n\u003cp>We call ourselves “the Motown of film, television and tech.” We want to create collaborative projects with talented people. And it’s been a tough road. No one wants to fund a media company, let alone one that’s focused on so-called “marginalized groups.” But we believe that we are in the avant-garde. So I’m going to do more of that.\u003c/p>\n\u003cp>I want to do not only shows that look like \u003ci>The Woman King\u003c/i> and \u003ci>Black Panther\u003c/i>, but also more documentaries and tech-forward platforms, anything that can mix it up and create a global conversation about what it is to be human. I am fueled by storytelling. I can’t stop thinking about stories. And everywhere I go, I see and hear and talk about stories.\u003c/p>\n\u003cp>I think about how I was discovered when I was 14, in a Merchant Ivory film, to play a foster child in a group home. I think about the story of my life, where I was raised by two orphans and got a chance to go from the mountains of Arizona to Philadelphia, to get a chance to audition and get my Screen Actors Guild card and become part of the union, and go around the world with Royal Shakespeare Theater. All these things I got to do because somebody thought that this face and this person would be good at storytelling. So I still do those things. And I guess that’s my ticket to ride nowadays.\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>\u003ci>Erika Alexander, Whitney Dow and Robin Rue Simmons appear in a live public panel discussion at KQED hosted by Ariana Proehl on Thursday, Jan. 12, 2023. ‘The Big Payback’ airs Thursday, Jan. 19, 2023, on KQED Channel 9 at 10 p.m. \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California may be \u003ca href=\"https://www.kqed.org/reparations\">the first state to study reparations for Black people\u003c/a>, but at the municipal level, Evanston, Ill., leads the country. In 2019, the city became the first in the United States to approve a program to redress the harms of segregation and housing discrimination endured by Black people since emancipation.\u003c/p>\n\u003cp>Evanston’s $10 million package, funded through a tax on recreational cannabis sales, will be dispersed for reparations initiatives over the span of 10 years to residents who qualify. In January of this year, 16 recipients, who were selected through a lottery, received $25,000 housing grants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Evanston’s success and the ongoing fight for reparations in Congress both get a closer look in \u003ci>The Big Payback\u003c/i>, a documentary that premiered at the Tribeca Festival earlier this year; it debuts on PBS/KQED 9 on Jan. 19, 2023. It’s co-directed by filmmaker Whitney Dow and actor and activist Erika Alexander, best known for bringing the beloved character Maxine Shaw (Attorney at Law!) to life on the ’90s sitcom \u003cem>Living Single\u003c/em>.\u003c/p>\n\u003cp>KQED talked with Alexander about the film, her activism and how her character Maxine Shaw inspired many Black women to pursue law and politics.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>KQED: What sparked the idea for \u003ci>The Big Payback\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Erika Alexander:\u003c/strong> I’ve been doing work within advocacy and activism for quite a while. I was Hillary Clinton’s most traveled surrogate for 2007 and 2016. I met Ben Arnon, who was a Barack Obama delegate, in 2008, and we started a company called Color Farm Media. Our goal was to represent underestimated, marginalized voices.\u003c/p>\n\u003cp>Our first film was the documentary \u003ca href=\"https://www.youtube.com/watch?v=z_oEkOdIXdo\">\u003ci>John Lewis: Good Trouble\u003c/i>\u003c/a>. After that, we wanted to do something about reparations. Whitney Dow — my white, male co-director — and I started at the Congressional reparations hearing in 2019, with Sheila Jackson Lee [and the bill] HR 40. While we were filming, we got a message from our producer, Zane Parker, who told us about Evanston and Robin Rue Simmons, the woman who passed the first \u003ca href=\"https://www.washingtonpost.com/national/evanston-illinois-reparations/2021/03/22/6b5a308c-8b2d-11eb-9423-04079921c915_story.html\">tax-funded reparations bill\u003c/a> in America. So we went to Evanston, and decided to change our entire P.O.V.\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/wmIyxpxboTs'\n title='//www.youtube.com/embed/wmIyxpxboTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What stood out to you about Robin Rue Simmons, who was a local alderwoman at the time you filmed her?\u003c/strong>\u003c/p>\n\u003cp>She’s an amazing young woman who I don’t think really knew much about the reparations arena, but she had been inspired by a trip that she took to Africa. And so she proposed the idea of a reparations bill. And one of her councilwomen said, well, there’s a new tax on cannabis — and that gave them the necessary ammunition and the actual funding.\u003c/p>\n\u003cp>They passed it with a mostly white council. From there was the tough job of how to implement it, and to whom, and she hadn’t really thought of those things. But I think because she didn’t know much about it, and she just knew she had the energy and they had these new funds, they got it done. She’s pretty phenomenal. She was just determined.\u003c/p>\n\u003cfigure id=\"attachment_13921541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg\" alt=\"a scene from a film shows a Black man and a Black woman discussing legislation at a table\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/full_THEBIGPAYBACK_BRETT_WILEY_04_1920X1080.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former Evanston, Ill. Alderwoman Robin Rue Simmons in ‘The Big Payback.’ \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The vice chair of California’s Task Force, longtime civil rights leader Amos Brown, has spoken about three “A’s” — \u003ci>admitting\u003c/i> the problems of the past; \u003ci>atoning\u003c/i> for them with reparations; and then \u003ci>acting\u003c/i> in a unified way that ensures the plans get carried out. Especially at the federal level, it seems like we’re still working on the first step.\u003c/strong>\u003c/p>\n\u003cp>When I started this journey, I mistook the reparations movement for a personal admission and an apology, or payment toward the moral debt, toward me as an African American and my fellow African Americans. But now I’m convinced because of the work, and I’ve been educated by experts on the issue, that that’s a very limited point of view. This debt resides within the fabric of America. So racism, all the residual evils that reside within the DNA — redlining, terrorism, all sorts of horrible, ugly things — are not an individual obligation to pay. It is for the government to admit, apologize and then make reparations.\u003c/p>\n\u003cp>So however we’re talking about this, we all need to educate ourselves, because it’s going to be a lengthy process if we don’t come to the point where this is not about charity — as a woman so wonderfully puts it in the movie — it’s about justice. We are owed. We are more than past due.\u003c/p>\n\u003cp>\u003cstrong>What roadblocks did Rue Simmons and her allies have to navigate?\u003c/strong>\u003c/p>\n\u003cp>The biggest roadblock is money. Funding. The other big roadblock is the natural pushback that people feel — that “this is in the past and we shouldn’t have to address it,” or “they should have addressed it back then.” And they tried with the First Reconstruction. But we know that after Abraham Lincoln died, and \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15/\">Sherman’s Special Field Order 15\u003c/a> was rescinded and we got Andrew Johnson, that Black people had no more power and they were pushed out of the power they had. And then it was just decades of them really suffering a different type of slavery and being unyolked from the system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘I believe that unless we [make reparations], America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To ask people who had no power “Why didn’t they get [reparations] then?” is absurd. But there were people who did [fight for reparations]. \u003ca href=\"https://www.usf.edu/cbcs/documents/marketing/communique/callie-house.pdf\">Callie House\u003c/a> and \u003ca href=\"https://www.aaihs.org/audley-moore-black-womens-activism-and-nationalist-politics/\">Queen Mother Moore\u003c/a> and all sorts of figures came in. \u003ca href=\"https://www.history.com/topics/black-history/marcus-garvey\">Marcus Garvey\u003c/a> trying to get reparations and restitutions and repairs. It’s a long history.\u003c/p>\n\u003cp>\u003cstrong>Rep. Sheila Jackson Lee of Texas is also a key figure in the documentary. Can you talk about her work on a federal level?\u003c/strong>\u003c/p>\n\u003cp>She took up a bill, \u003ca href=\"https://www.congress.gov/bill/117th-congress/house-bill/40\">HR 40\u003c/a>, that was introduced into Congress by John Conyers from Detroit, simply trying to study reparations. [If the resolution had passed] they would have had the power to go into all sorts of institutions, backlogs and libraries and see the case for reparations. And they did not get that through at all.\u003c/p>\n\u003cp>In 2020, she made progress, but then \u003ca href=\"https://andscape.com/features/h-r-40-the-federal-bill-to-study-reparations-appears-stalled-once-again/\">it stalled again\u003c/a>, because she didn’t have the votes to move it forward. Now, an executive decision from Biden could bypass all of that. And we were all hoping that would happen. But because reparations is such a controversial subject … there’s a lot of people who would have to own up to [the history]. There’s been a lot of pushback.\u003c/p>\n\u003cp>So that’s what she’s been doing, and that’s what she’ll continue to do, and hopefully get the political will. Mostly, this president should sign an executive decision to get on to what’s right. Because I really believe that unless we do that, America is doomed. I think it’s doomed by its moral debt and also the karmic death wish of not paying restitution in repair to its most oppressed citizens.\u003c/p>\n\u003cfigure id=\"attachment_13921550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg\" alt=\"a press conference on Capitol Hill; a Black man stands next to a Black woman speaking at a podium\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1353673937-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rep. Danny K. Davis listens as Rep. Sheila Jackson Lee speaks at a press conference on HR 40, which would create a commission to study and develop reparation proposals for African Americans, on Nov. 16, 2021. \u003ccite>(Anna Moneymaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rue Simmons was an alderwoman, a local government official, at the time you filmed her. Can you talk about the significance of her holding local office during that fight?\u003c/strong>\u003c/p>\n\u003cp>They say everything is about “the local weather.” And it’s true. You’re always looking at the national political willpower or what’s on the [national] ballot because it’s sexy. But everything happens at a local level first. And we’re starting to understand that, if you look at the race in Georgia with Stacey Abrams and [Brian] Kemp, and with [Raphael] Warnock and Herschel Walker, they’re seeing how very directly they’ll either progress or regress, depending on what they choose.\u003c/p>\n\u003cp>One of the things I’ll never forget [is] Hillary Clinton warning that they would turn back Roe v. Wade. And at the time, I thought ‘That’s a little bit too much, don’t you think?’ But everything she said was right. They did turn back Roe v. Wade. So here we are locally trying to, state by state, protect women’s right to choose. And people can now see that nothing is sacrosanct. I think that we’re all getting a really good lesson about participating in local elections.\u003c/p>\n\u003cp>\u003cstrong>You played a fictional alderwoman and attorney as Maxine Shaw in the ’90s hit \u003ci>Living Single\u003c/i> — my favorite show of all time. And that character has been influential to real-life political figures: Stacey Abrams, Rep. Ayanna Pressley and the state attorney in Baltimore, Marilyn Mosby, have all said they were inspired by that character. Were you also inspired by getting to play a local official?\u003c/strong>\u003c/p>\n\u003cp>You know what’s funny? There are no alderwomen in Brooklyn [where \u003ci>Living Single\u003c/i> took place]! Only Chicago and other places. I didn’t know that then. And I don’t think Yvette Lee Bowser, who created the show, did either. I did like doing that. And [that character] was definitely somebody who was bold.\u003c/p>\n\u003cp>But I’m more inspired by people like you, and Ayanna Pressley, Stacey Abrams, and some of the really fantastic young Black women I meet that are so sure of their mission and their commitment to life. I got a chance to campaign with [activist and media strategist] Jehmu Greene, who taught me all that I know about local politics and how to speak to people. I got a chance to campaign with Sheila Jackson Lee and with Ayanna and Stacey and John Lewis. And each time I do, I learn something. I’m like a sponge. I’m meant to be a mimic and then go and put it somewhere else.\u003c/p>\n\u003cp>I was just watching a movie I did when I was 19, called \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0_DZnX22XjM\">Common Ground\u003c/a>,\u003c/i> about the Boston bussing. It was as horrible and stressful to look at as anything you might see down South — I think they wanted to make the point that the South wasn’t the only place that pushed back [on integration]. I remember getting so sick and stressed on set and breaking out, not being able to stand for long periods. And I didn’t think then that it was the role or the subject. But now I’ve been realizing that I’ve been doing my work inside of racial and social justice issues for my entire career.\u003c/p>\n\u003cp>I look at \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0FJSosGKclM\">The Long Walk Home\u003c/a>.\u003c/i> There I was, Selma, getting on the bus. I learned from each one of these people. But it’s also because of the people I worked with previously, [like] Phylicia Rashad. I worked with the great Cicely Tyson, Lorraine Toussaint, Gloria Foster. They were killers, and they taught me how to be — not only to be a woman, but to be a strong person. That’s what you see in these roles.\u003c/p>\n\u003cfigure id=\"attachment_13921542\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ErikaBen.jpg\" alt=\"a white man and a Black woman smile in a portrait on a staircase\" width=\"750\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ErikaBen-160x101.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Color Farm Media co-founders Ben Arnon and Erika Alexander. \u003ccite>(Courtesy of Color Farm Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now you’ve added director to your roles. Can you share more about your goals with Color Farm Media?\u003c/strong>\u003c/p>\n\u003cp>We call ourselves “the Motown of film, television and tech.” We want to create collaborative projects with talented people. And it’s been a tough road. No one wants to fund a media company, let alone one that’s focused on so-called “marginalized groups.” But we believe that we are in the avant-garde. So I’m going to do more of that.\u003c/p>\n\u003cp>I want to do not only shows that look like \u003ci>The Woman King\u003c/i> and \u003ci>Black Panther\u003c/i>, but also more documentaries and tech-forward platforms, anything that can mix it up and create a global conversation about what it is to be human. I am fueled by storytelling. I can’t stop thinking about stories. And everywhere I go, I see and hear and talk about stories.\u003c/p>\n\u003cp>I think about how I was discovered when I was 14, in a Merchant Ivory film, to play a foster child in a group home. I think about the story of my life, where I was raised by two orphans and got a chance to go from the mountains of Arizona to Philadelphia, to get a chance to audition and get my Screen Actors Guild card and become part of the union, and go around the world with Royal Shakespeare Theater. All these things I got to do because somebody thought that this face and this person would be good at storytelling. So I still do those things. And I guess that’s my ticket to ride nowadays.\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>\u003ci>Erika Alexander, Whitney Dow and Robin Rue Simmons appear in a live public panel discussion at KQED hosted by Ariana Proehl on Thursday, Jan. 12, 2023. ‘The Big Payback’ airs Thursday, Jan. 19, 2023, on KQED Channel 9 at 10 p.m. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’",
"headTitle": "A Loving Salute to NASA’s Mars Rover Program in ‘Good Night Oppy’ | KQED",
"content": "\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>[aside postid='arts_13920799']In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W4t58Yruhds\u003c/p>\n\u003cp>The story of how they were conceived, designed, tested, and sent to Mars fills the first half of \u003cem>Good Night Oppy\u003c/em>, and it’s a suspense-filled ride, crammed with brainstorming, trouble-shooting, deadline-pushing, and frequent nail-biting. Tight scheduling meant engineers needed to invent solutions on the fly when, say, balloons meant to cushion the rovers’ landing burst on impact during tests. And even after launch, there were problems to be overcome. Solar flares corrupted the rovers’ software as they rocketed toward Mars, requiring an unexpected reboot in mid-flight.\u003c/p>\n\u003cp>Still, seven months and 300 million miles later, they get to the Red Planet and the real fun begins. The filmmakers have plenty of footage of NASA folks cheering, fretting, and most of all, explaining. The director also employed the digital wizards from \u003ca href=\"https://www.ilm.com/\">Industrial Light & Magic\u003c/a> to conjure the scenes on Mars that his crew can’t shoot: the rovers, for the first 90 days racing against time as the scientists assume their solar panels will get so dusty they’ll no longer provide power.\u003c/p>\n\u003cp>Then came what appeared a mission-killer of a problem: Whirling mile-high tornados of dust. But to the astonishment of the scientists, when the dust cleared, the solar panels had been scrubbed clean and were as spotless as the day they’d landed.\u003c/p>\n\u003cp>[aside postid='arts_13921052']A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When first spotted, Oppy has been on a roll but has abruptly come to a stop. “Hazard detected,” she alerts her handlers on earth. They get the message some six minutes later, look at the image she’s sent, and send back a few words that get her rolling again: “You are safe to proceed. That’s just your shadow.”\u003c/p>\n\u003cp>Now, forgive me, but this is not even four minutes in, and already I’m hooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2003, NASA sent two robots — Spirit and Opportunity — to explore the surface of Mars. The solar-powered and semi-autonomous rovers were expected to have a lifespan of about 90 days. But as chronicled with invention and enormous charm in Amazon’s documentary \u003cem>Good Night Oppy\u003c/em>, they continued sending back data and pictures for years.\u003c/p>\n\u003cp>“To say it’s like a child being born would be to trivialize parenthood,” says mission manager Steve Squyres early in the film, “but it feels sorta like that.”\u003c/p>\n\u003cp>Oppy and her twin sister Spirit, look like real-life Wall-Es. They each have solar-panel wings to provide power, metal arms to pick stuff up, and a head that swivels with lenses spaced just like a person’s eyes. They stand 5 feet, 2 inches, and every morning, NASA’s scientists rouse them from an overnight slumber just as they did their human counterparts on manned space flights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A new lease on life, repeated again and again, as the rovers spend years exploring terrain NASA never expected them to see. Over time it makes sense that the scientists and engineers would view their charges as almost human, lamenting, say, how dust had corrupted Oppy’s “arthritic” shoulder joints. A technician who’d given birth to twins of her own as she began sending remote signals to drive the twin rovers, noted differences in their capabilities, and personalities. A scientist dealing with her grandmother’s dementia sensed similarities in the way that software memory loss was impeding the rovers’ information gathering.\u003c/p>\n\u003cp>Only natural. They’d birthed the rovers after all, and sent them out to fend for themselves, hoping they’d imparted the skills necessary to stay safe and to thrive. And when their mechanical charges overcome obstacles or exhibit unexpected stamina and pluck, their handlers respond like the proud parents they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Good Night Oppy\u003c/em>, you’ll likely feel that way, too — proud and fond of these intrepid explorers who may not have found life on Mars, but who ensured, for 15 years at least, that the Red Planet was lively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+loving+salute+to+NASA%27s+Mars+rover+program+in+%27Good+Night+Oppy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003cem>Jeopardy! Tournament of Champions\u003c/em> (TOC) is like the Super Bowl for trivia nerds, but even if you’re not a trivia fan, you may want to tune in this time.\u003c/p>\n\u003cp>This year’s cast is not only the most impressive group of competitors ever, but \u003cem>Jeopardy!\u003c/em> is also implementing a new structure that could make for the most exciting tournament in the show’s history.\u003c/p>\n\u003ch3>How the tournament works\u003c/h3>\n\u003cp>Every year, \u003cem>Jeopardy!\u003c/em> reconvenes a cast of its most dominant players from the previous season to compete in a tournament-style competition.\u003c/p>\n\u003cp>Over the course of two weeks, the contestants face off in a series of quarterfinal, semifinal and final rounds, all vying to make their mark in \u003cem>Jeopardy!\u003c/em> history, and a $250,000 prize.\u003c/p>\n\u003cp>Typically, 15 past players are invited back to compete in the tournament. This year, the contestant pool has increased to 21.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of those 21, 18 will play in TOC’s quarterfinal rounds, with the remaining three having been pre-selected to skip to the tournament’s semifinals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AdqRBZVo4IA\u003c/p>\n\u003cp>But who are those pre-select semifinalists?\u003c/p>\n\u003ch3>Here are the super champs!\u003c/h3>\n\u003cp>The three pre-selected semifinal contestants are Amy Schneider, Matt Amodio, and Mattea Roach.\u003c/p>\n\u003cp>These three contestants are considered \u003cem>Jeopardy!\u003c/em> “super champions” (a title given to contestants who exceed 10 consecutive wins), with each of them having had one of the top five longest streaks of consecutive wins in regular season play.\u003c/p>\n\u003cp>\u003cstrong>Amy Schneider — 41 consecutive wins (2nd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1074-re-se-b126c7ced82f9fed357d8b07078fd884fe364f2b-800x600.jpg\" alt=\"A bespectacled woman in powder blue suit jacket stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Amy Schneider won a total $1,382,800 during her streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of breaking records, Schneider might be the most formidable contender in this year’s tournament. She holds the second longest streak of consecutive wins in the show’s history, is the highest winning female contestant, and is the first openly transgender contestant to qualify for the tournament of champions.\u003c/p>\n\u003cp>\u003cstrong>Matt Amodio — 38 consecutive wins (3rd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921173\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1081-re-se-6512fb61610bb25d1f44b7af15712bf000a734cf-800x600.jpg\" alt=\"A young man with tight curly black hair, wearing an argyle sweater stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Matt Amodio won a total $1,518,601 during his streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Amodio does not have the longest running streak amongst TOC contestants, his track record shows that he was more dominant than Schneider on a per-game basis. Amodio’s cumulative winnings on \u003cem>Jeopardy!\u003c/em> exceed Schneider’s by more than $100,000, despite having three fewer wins overall.\u003c/p>\n\u003cp>\u003cstrong>Mattea Roach — 23 consecutive wins (5th longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1086-re-se-ee8ceeb9b1422fc5e7bd9d9277b2118d0623fb81-800x601.jpg\" alt=\"A young woman with short hair and glasses stands behind a game show podium wearing a white shirt and black suit jacket.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">Matteaa Roach won a total $560,983 during their streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At just 24 years old, Roach is the youngest super champion competing. But that is certainly no reason to discount them — just like Amodio and Schneider, Roach boasts over 90% correct response accuracy.\u003c/p>\n\u003cp>Although Schneider, Amodio, and Roach are not the only super champions competing in the tournament, their track records are so dominant that the show’s producers felt the need to distinguish them from the rest of the field.\u003c/p>\n\u003cp>“We looked at Mattea, and Matt and Amy, we had to draw a distinction between them and the rest of our players,” executive producer Michael Davies said.\u003c/p>\n\u003ch3>The underdogs\u003c/h3>\n\u003cp>Generally, the contestants cast to appear in the TOC have either gone on long streaks of consecutive wins, or are winners of the show’s special tournaments, such as the college tournament or teacher’s tournament.\u003c/p>\n\u003cp>This year, however, two contestants competing in the tournament of champions have never won a game of regular season play.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1586432687354486784\u003c/p>\n\u003cp>Rowan Ward and Jessica Stephens both lost the first time they competed on the show. While losing on your first appearance has historically barred a contestant from returning, Ward and Stephens managed secured their spots in the TOC by winning the show’s Second Chance Competition, which was held for the first time this year.\u003c/p>\n\u003cp>[aside postid='arts_13907974']While some may be looking at the Second Chance competitors as underdogs, that’s certainly not how Ward sees it. They’re going into the tournament having unfinished business with Amodio, who defeated Ward on their first appearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And I want another shot at Matt Amodio,” Ward told NPR. “Whether I get it, who knows, but [I’m coming] into tournament of champions with all the confidence in the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jeopardy%21+Tournament+of+Champions%27+has+the+makings+of+being+the+greatest+yet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Jeopardy! Tournament of Champions\u003c/em> (TOC) is like the Super Bowl for trivia nerds, but even if you’re not a trivia fan, you may want to tune in this time.\u003c/p>\n\u003cp>This year’s cast is not only the most impressive group of competitors ever, but \u003cem>Jeopardy!\u003c/em> is also implementing a new structure that could make for the most exciting tournament in the show’s history.\u003c/p>\n\u003ch3>How the tournament works\u003c/h3>\n\u003cp>Every year, \u003cem>Jeopardy!\u003c/em> reconvenes a cast of its most dominant players from the previous season to compete in a tournament-style competition.\u003c/p>\n\u003cp>Over the course of two weeks, the contestants face off in a series of quarterfinal, semifinal and final rounds, all vying to make their mark in \u003cem>Jeopardy!\u003c/em> history, and a $250,000 prize.\u003c/p>\n\u003cp>Typically, 15 past players are invited back to compete in the tournament. This year, the contestant pool has increased to 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of those 21, 18 will play in TOC’s quarterfinal rounds, with the remaining three having been pre-selected to skip to the tournament’s semifinals.\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/AdqRBZVo4IA'\n title='//www.youtube.com/embed/AdqRBZVo4IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But who are those pre-select semifinalists?\u003c/p>\n\u003ch3>Here are the super champs!\u003c/h3>\n\u003cp>The three pre-selected semifinal contestants are Amy Schneider, Matt Amodio, and Mattea Roach.\u003c/p>\n\u003cp>These three contestants are considered \u003cem>Jeopardy!\u003c/em> “super champions” (a title given to contestants who exceed 10 consecutive wins), with each of them having had one of the top five longest streaks of consecutive wins in regular season play.\u003c/p>\n\u003cp>\u003cstrong>Amy Schneider — 41 consecutive wins (2nd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921171\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1074-re-se-b126c7ced82f9fed357d8b07078fd884fe364f2b-800x600.jpg\" alt=\"A bespectacled woman in powder blue suit jacket stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Amy Schneider won a total $1,382,800 during her streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In terms of breaking records, Schneider might be the most formidable contender in this year’s tournament. She holds the second longest streak of consecutive wins in the show’s history, is the highest winning female contestant, and is the first openly transgender contestant to qualify for the tournament of champions.\u003c/p>\n\u003cp>\u003cstrong>Matt Amodio — 38 consecutive wins (3rd longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921173\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1081-re-se-6512fb61610bb25d1f44b7af15712bf000a734cf-800x600.jpg\" alt=\"A young man with tight curly black hair, wearing an argyle sweater stands behind a game show podium.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Matt Amodio won a total $1,518,601 during his streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Amodio does not have the longest running streak amongst TOC contestants, his track record shows that he was more dominant than Schneider on a per-game basis. Amodio’s cumulative winnings on \u003cem>Jeopardy!\u003c/em> exceed Schneider’s by more than $100,000, despite having three fewer wins overall.\u003c/p>\n\u003cp>\u003cstrong>Mattea Roach — 23 consecutive wins (5th longest steak)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13921174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/jeop_s39_8737-air110822-092022_1086-re-se-ee8ceeb9b1422fc5e7bd9d9277b2118d0623fb81-800x601.jpg\" alt=\"A young woman with short hair and glasses stands behind a game show podium wearing a white shirt and black suit jacket.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">Matteaa Roach won a total $560,983 during their streak. \u003ccite>(Jeopardy Productions, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At just 24 years old, Roach is the youngest super champion competing. But that is certainly no reason to discount them — just like Amodio and Schneider, Roach boasts over 90% correct response accuracy.\u003c/p>\n\u003cp>Although Schneider, Amodio, and Roach are not the only super champions competing in the tournament, their track records are so dominant that the show’s producers felt the need to distinguish them from the rest of the field.\u003c/p>\n\u003cp>“We looked at Mattea, and Matt and Amy, we had to draw a distinction between them and the rest of our players,” executive producer Michael Davies said.\u003c/p>\n\u003ch3>The underdogs\u003c/h3>\n\u003cp>Generally, the contestants cast to appear in the TOC have either gone on long streaks of consecutive wins, or are winners of the show’s special tournaments, such as the college tournament or teacher’s tournament.\u003c/p>\n\u003cp>This year, however, two contestants competing in the tournament of champions have never won a game of regular season play.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rowan Ward and Jessica Stephens both lost the first time they competed on the show. While losing on your first appearance has historically barred a contestant from returning, Ward and Stephens managed secured their spots in the TOC by winning the show’s Second Chance Competition, which was held for the first time this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some may be looking at the Second Chance competitors as underdogs, that’s certainly not how Ward sees it. They’re going into the tournament having unfinished business with Amodio, who defeated Ward on their first appearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And I want another shot at Matt Amodio,” Ward told NPR. “Whether I get it, who knows, but [I’m coming] into tournament of champions with all the confidence in the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jeopardy%21+Tournament+of+Champions%27+has+the+makings+of+being+the+greatest+yet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the Cartoonist Behind 'The Addams Family' Defused Fear, With Dead-On Humor",
"headTitle": "How the Cartoonist Behind ‘The Addams Family’ Defused Fear, With Dead-On Humor | KQED",
"content": "\u003cp>On November 3, \u003ca href=\"https://societyillustrators.org/\">the Society of Illustrators \u003c/a>will induct the cartoonist Charles “Chas” Addams into its Hall of Fame. Although he drew thousands of cartoons throughout his career, Addams is best known for ghoulish and charming characters who first graced the pages of \u003cem>The New Yorker\u003c/em> in the late 1930s.\u003c/p>\n\u003cp>After they appeared on a TV sitcom that ran from 1964-66, The Addams Family, as they came to be known, enjoyed an afterlife in syndication, as well as books, animated series, live-action films, a Broadway musical, \u003ca href=\"https://pinside.com/pinball/machine/addams-family\">a pinball machine\u003c/a>, video games, and ads hawking everything from \u003ca href=\"https://www.youtube.com/watch?v=uf3YCBcruaA\">M&Ms\u003c/a> to \u003ca href=\"https://www.ispot.tv/ad/qYIs/progressive-flo-meets-the-addams-family\">home insurance\u003c/a>. Next month, the ever-morse tween Wednesday Addams will have her own Netflix show, directed by Tim Burton.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Di310WS8zLk\u003c/p>\n\u003cp>The origins of this pop culture dynasty can be traced to the small town of Westfield, N.J., about 20 miles west of Manhattan. Addams was born there in 1912 and as a child he played in graveyards, imagining those who lay beneath, and resurrecting them in his sketchbook. “If that’s morbid, then he started out as a morbid person, but it was more a fascination with death,” explains Kevin Miserocchi, Director of \u003ca href=\"https://charlesaddams.com/\">the Tee & Charles Addams Foundation\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13919589']Having contributed cartoons to the student newspaper and literary magazine at Westfield High, Addams followed with brief stints at Colgate and the University of Pennsylvania. A transfer to the Grand Central School of Art brought him to New York City, where he landed a gig cleaning up crime scene photos for \u003cem>True Detective \u003c/em>magazine in the early 1930s. “They wanted him to ‘jazz up’ the stories,” says Miserocchi, “but then he would have to back off because it was too much.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1932 Addams sold his first spot sketch to \u003cem>The New Yorker\u003c/em>. His big break came in 1940, with a captionless cartoon depicting a skier whose tracks pass on \u003cem>both\u003c/em> sides of a tree, which earned him a spot as a marquee contributor.\u003c/p>\n\u003cfigure id=\"attachment_13920965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-800x563.png\" alt=\"In a cartoon strip, one skier looks back confused at another skier who has seemingly passed through a tree.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-800x563.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-1020x718.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-768x541.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM.png 1514w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Downhill Skier,’ as seen in ‘The New Yorker’ on January 13, 1940. \u003ccite>(Tee & Charles Addams Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cartoonist \u003ca href=\"http://rozchast.com/index.shtml\">Roz Chast\u003c/a> first discovered Addams’ work as an eight-year-old visiting the browsing library at Cornell University while her parents attended summer lectures with other adults. At a time when most of \u003cem>The New Yorker’s\u003c/em> cartoons poked fun at boardrooms and cocktail parties, Chast says Addams’s work stood out. “I loved almost anything that the kids were in,” she recalls. In one of her favorites, \u003ca href=\"https://charlesaddams.com/print-galleryshop/back-from-camp\">a delivery man appears to be returning kids from summer camp to their parents — in animal restraining carriers\u003c/a>.\u003c/p>\n\u003cp>In another, one of Addams’ most well-known, it’s Christmastime, 1946. Members of the yet-to-be-named Addams family are on the roof of a creepy-looking mansion, poised to douse carolers on the street with the contents of a steaming cauldron.\u003c/p>\n\u003cfigure id=\"attachment_13920967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920967\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-800x978.png\" alt=\"Characters we now recognize as Lurch, Gomez and Morticia Addams are depicted high up on the roof of a tall, creepy mansion, getting ready to tip a vat of oil on carolers below.\" width=\"800\" height=\"978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-800x978.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-1020x1248.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-160x196.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-768x939.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM.png 1040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Boiling Oil,’ as seen in ‘The New Yorker’ on Dec. 21, 1946. \u003ccite>(Tee & Charles Addams Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, instead of it being sort of like, ‘Look at these hostile psychotics, what’s wrong with them?’ It’s like when you just kind of can’t bear the carolers sort of thing and you just want to dump boiling oil on them,” says Chast with a chuckle.\u003c/p>\n\u003cp>Over time, those loosely connected characters experienced an “evilution” into a family: Morticia, her husband Gomez, their offspring Wednesday and Pugsley, Uncle Fester, Granny Frump, the butler Lurch, and a mysterious disembodied hand called Thing. They became internationally famous denizens of the dark side in the mid-1960s thanks to \u003cem>The Addams Family \u003c/em>TV sitcom, starring John Astin as Gomez and Carolyn Jones as Morticia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HQlB4jSy-3Q\u003c/p>\n\u003cp>That’s around the time that cartoonist \u003ca href=\"https://dykestowatchoutfor.com/\">Alison Bechdel\u003c/a> encountered Addams’ work—including \u003ca href=\"https://www.themarginalian.org/2013/01/07/charles-addams-mother-goose/\">an illustrated book of nursery rhymes\u003c/a>. Bechdel says even an innocent verse like “girls and boys come out to play, the moon does shine as bright as day” could take a grim turn as members of the Addams Family rushed into the cemetery with shovels. On a personal level, she says she could relate.\u003c/p>\n\u003cp>“I really felt like I was a part of the Addams Family,” Bechdel explains. “My parents looked like Morticia and Gomez, we ran a funeral home, we lived in this big old rambling Victorian house like the Addams’s did. I even looked quite a bit like Wednesday, especially in my first-grade photo where I’m actually wearing a black velvet dress with a white collar.”\u003c/p>\n\u003cp>[aside postid='arts_13863411']As for Charles Addams, he loved to have fun with his public image, decorating his Manhattan penthouse with medieval weaponry and a Civil War-era embalming table. But he was also known as a gracious and congenial man who loved vintage cars and animals. Addams married and divorced two raven-haired beauties resembling Morticia before wedding his third and final wife Marilyn “Tee” Matthews in a pet cemetery at her Water Mill, Long Island home in 1980. Naturally, the bride and groom both wore black. When the couple died, he in 1988, and she in 2002, their ashes were interred in the pet cemetery on their shared Sagaponack estate, which they affectionately called “The Swamp.”\u003c/p>\n\u003cp>Miserocchi points out that as a cartoonist Addams’ goal was never to create fear, but to defuse it, infusing the horror with a playfulness that appealed even to those who prefer daylight to the witching hour. “The suggestion of blood, the suggestion of gore, the suggestion of torture is always there but his cartoons never showed it.” Subtly, but powerfully subversive, The Addams Family left readers wondering if maybe these weirdos weren’t so weird after all … and we were weirder.\u003c/p>\n\u003cp>Addams’ work is now shown in prestigious \u003ca href=\"https://charlesaddams.com/exhibitions\">galleries and museums\u003c/a>. But perhaps nowhere is his enduring spirit more evident than in his hometown of Westfield, which holds a month-long celebration each October called \u003ca href=\"https://www.addamsfest.com/\">AddamsFest.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13920969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-800x630.png\" alt=\"A cartoon depicting a woman and child staring into a window display marked 'EXOTIC FISH'. One of the fish has a human face. The child holds a bag containing a fish that looks oddly human, while she has a face that resembles a fish.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-800x630.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-1020x803.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-1536x1209.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Have you ever noticed how some people resemble their pets?’ by Nadia Rego. \u003ccite>(Photo courtesy of AddamsFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a masquerade ball, cemetery crawls and \u003ca href=\"https://www.addamsfest.com/art-of-cartooning\">a gallery exhibition pairing Addams’ cartoons with works by aspiring young artists \u003c/a>who took a multi-day class to learn his print-age techniques.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We [then] looked at a list of prompts, not knowing that they were his. And so we drew what we interpreted from that, and then we got the opportunity to look at how he drew it,” says Nadia Rego, a 15-year-old participant. Even though Addams and Rego may be separated by nearly a century, the humor is still dead on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+cartoonist+behind+The+Addams+Family+defused+fear%2C+with+dead-on+humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On November 3, \u003ca href=\"https://societyillustrators.org/\">the Society of Illustrators \u003c/a>will induct the cartoonist Charles “Chas” Addams into its Hall of Fame. Although he drew thousands of cartoons throughout his career, Addams is best known for ghoulish and charming characters who first graced the pages of \u003cem>The New Yorker\u003c/em> in the late 1930s.\u003c/p>\n\u003cp>After they appeared on a TV sitcom that ran from 1964-66, The Addams Family, as they came to be known, enjoyed an afterlife in syndication, as well as books, animated series, live-action films, a Broadway musical, \u003ca href=\"https://pinside.com/pinball/machine/addams-family\">a pinball machine\u003c/a>, video games, and ads hawking everything from \u003ca href=\"https://www.youtube.com/watch?v=uf3YCBcruaA\">M&Ms\u003c/a> to \u003ca href=\"https://www.ispot.tv/ad/qYIs/progressive-flo-meets-the-addams-family\">home insurance\u003c/a>. Next month, the ever-morse tween Wednesday Addams will have her own Netflix show, directed by Tim Burton.\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/Di310WS8zLk'\n title='//www.youtube.com/embed/Di310WS8zLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The origins of this pop culture dynasty can be traced to the small town of Westfield, N.J., about 20 miles west of Manhattan. Addams was born there in 1912 and as a child he played in graveyards, imagining those who lay beneath, and resurrecting them in his sketchbook. “If that’s morbid, then he started out as a morbid person, but it was more a fascination with death,” explains Kevin Miserocchi, Director of \u003ca href=\"https://charlesaddams.com/\">the Tee & Charles Addams Foundation\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Having contributed cartoons to the student newspaper and literary magazine at Westfield High, Addams followed with brief stints at Colgate and the University of Pennsylvania. A transfer to the Grand Central School of Art brought him to New York City, where he landed a gig cleaning up crime scene photos for \u003cem>True Detective \u003c/em>magazine in the early 1930s. “They wanted him to ‘jazz up’ the stories,” says Miserocchi, “but then he would have to back off because it was too much.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1932 Addams sold his first spot sketch to \u003cem>The New Yorker\u003c/em>. His big break came in 1940, with a captionless cartoon depicting a skier whose tracks pass on \u003cem>both\u003c/em> sides of a tree, which earned him a spot as a marquee contributor.\u003c/p>\n\u003cfigure id=\"attachment_13920965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-800x563.png\" alt=\"In a cartoon strip, one skier looks back confused at another skier who has seemingly passed through a tree.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-800x563.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-1020x718.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM-768x541.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.25.44-AM.png 1514w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Downhill Skier,’ as seen in ‘The New Yorker’ on January 13, 1940. \u003ccite>(Tee & Charles Addams Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cartoonist \u003ca href=\"http://rozchast.com/index.shtml\">Roz Chast\u003c/a> first discovered Addams’ work as an eight-year-old visiting the browsing library at Cornell University while her parents attended summer lectures with other adults. At a time when most of \u003cem>The New Yorker’s\u003c/em> cartoons poked fun at boardrooms and cocktail parties, Chast says Addams’s work stood out. “I loved almost anything that the kids were in,” she recalls. In one of her favorites, \u003ca href=\"https://charlesaddams.com/print-galleryshop/back-from-camp\">a delivery man appears to be returning kids from summer camp to their parents — in animal restraining carriers\u003c/a>.\u003c/p>\n\u003cp>In another, one of Addams’ most well-known, it’s Christmastime, 1946. Members of the yet-to-be-named Addams family are on the roof of a creepy-looking mansion, poised to douse carolers on the street with the contents of a steaming cauldron.\u003c/p>\n\u003cfigure id=\"attachment_13920967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920967\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-800x978.png\" alt=\"Characters we now recognize as Lurch, Gomez and Morticia Addams are depicted high up on the roof of a tall, creepy mansion, getting ready to tip a vat of oil on carolers below.\" width=\"800\" height=\"978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-800x978.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-1020x1248.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-160x196.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM-768x939.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.31.27-AM.png 1040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Boiling Oil,’ as seen in ‘The New Yorker’ on Dec. 21, 1946. \u003ccite>(Tee & Charles Addams Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, instead of it being sort of like, ‘Look at these hostile psychotics, what’s wrong with them?’ It’s like when you just kind of can’t bear the carolers sort of thing and you just want to dump boiling oil on them,” says Chast with a chuckle.\u003c/p>\n\u003cp>Over time, those loosely connected characters experienced an “evilution” into a family: Morticia, her husband Gomez, their offspring Wednesday and Pugsley, Uncle Fester, Granny Frump, the butler Lurch, and a mysterious disembodied hand called Thing. They became internationally famous denizens of the dark side in the mid-1960s thanks to \u003cem>The Addams Family \u003c/em>TV sitcom, starring John Astin as Gomez and Carolyn Jones as Morticia.\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/HQlB4jSy-3Q'\n title='//www.youtube.com/embed/HQlB4jSy-3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s around the time that cartoonist \u003ca href=\"https://dykestowatchoutfor.com/\">Alison Bechdel\u003c/a> encountered Addams’ work—including \u003ca href=\"https://www.themarginalian.org/2013/01/07/charles-addams-mother-goose/\">an illustrated book of nursery rhymes\u003c/a>. Bechdel says even an innocent verse like “girls and boys come out to play, the moon does shine as bright as day” could take a grim turn as members of the Addams Family rushed into the cemetery with shovels. On a personal level, she says she could relate.\u003c/p>\n\u003cp>“I really felt like I was a part of the Addams Family,” Bechdel explains. “My parents looked like Morticia and Gomez, we ran a funeral home, we lived in this big old rambling Victorian house like the Addams’s did. I even looked quite a bit like Wednesday, especially in my first-grade photo where I’m actually wearing a black velvet dress with a white collar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for Charles Addams, he loved to have fun with his public image, decorating his Manhattan penthouse with medieval weaponry and a Civil War-era embalming table. But he was also known as a gracious and congenial man who loved vintage cars and animals. Addams married and divorced two raven-haired beauties resembling Morticia before wedding his third and final wife Marilyn “Tee” Matthews in a pet cemetery at her Water Mill, Long Island home in 1980. Naturally, the bride and groom both wore black. When the couple died, he in 1988, and she in 2002, their ashes were interred in the pet cemetery on their shared Sagaponack estate, which they affectionately called “The Swamp.”\u003c/p>\n\u003cp>Miserocchi points out that as a cartoonist Addams’ goal was never to create fear, but to defuse it, infusing the horror with a playfulness that appealed even to those who prefer daylight to the witching hour. “The suggestion of blood, the suggestion of gore, the suggestion of torture is always there but his cartoons never showed it.” Subtly, but powerfully subversive, The Addams Family left readers wondering if maybe these weirdos weren’t so weird after all … and we were weirder.\u003c/p>\n\u003cp>Addams’ work is now shown in prestigious \u003ca href=\"https://charlesaddams.com/exhibitions\">galleries and museums\u003c/a>. But perhaps nowhere is his enduring spirit more evident than in his hometown of Westfield, which holds a month-long celebration each October called \u003ca href=\"https://www.addamsfest.com/\">AddamsFest.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13920969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-800x630.png\" alt=\"A cartoon depicting a woman and child staring into a window display marked 'EXOTIC FISH'. One of the fish has a human face. The child holds a bag containing a fish that looks oddly human, while she has a face that resembles a fish.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-800x630.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-1020x803.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM-1536x1209.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-11.43.37-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Have you ever noticed how some people resemble their pets?’ by Nadia Rego. \u003ccite>(Photo courtesy of AddamsFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a masquerade ball, cemetery crawls and \u003ca href=\"https://www.addamsfest.com/art-of-cartooning\">a gallery exhibition pairing Addams’ cartoons with works by aspiring young artists \u003c/a>who took a multi-day class to learn his print-age techniques.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We [then] looked at a list of prompts, not knowing that they were his. And so we drew what we interpreted from that, and then we got the opportunity to look at how he drew it,” says Nadia Rego, a 15-year-old participant. Even though Addams and Rego may be separated by nearly a century, the humor is still dead on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+the+cartoonist+behind+The+Addams+Family+defused+fear%2C+with+dead-on+humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are two kinds of people in this world: one who hears the following piece of music and feels nothing, and one who’s immediately transported to a strange, mythical world:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pXrjMaVoTy0\u003c/p>\n\u003cp>That’s the theme to \u003cem>Twin Peaks\u003c/em>, the short-lived 1990-1991 TV show. People often say that \u003cem>Twin Peaks\u003c/em> invented prestige TV, and it’s hard to argue: when it debuted, the networks were still dominated by sitcoms like \u003cem>The Cosby Show\u003c/em> and \u003cem>Cheers\u003c/em>. David Lynch’s strange, oddly paced show was like nothing on TV at the time, and it’s only seen its fan base grow and grow in the 30-odd years since.\u003c/p>\n\u003cp>So when the Balboa Theater in San Francisco hosts a \u003ca href=\"https://www.balboamovies.com/calendar-of-events/twin-peaks-fest-w-sheryl-lee-amp-dana-ashbrook-in-person\">\u003cem>Twin Peaks\u003c/em> celebration on Nov. 6\u003c/a> with some of the show’s original stars, expect a full house. Sheryl Lee, who played Laura Palmer, and Dana Ashbrook, who played Bobby Briggs, will be on hand to answer questions and sign autographs, and the theater will show select TV episodes along with two screenings of \u003cem>Twin Peaks: Fire Walk With Me\u003c/em> throughout the day.\u003c/p>\n\u003cp>And: if you’ve never seen \u003cem>Twin Peaks\u003c/em>? This is the perfect opportunity to be introduced to an eerie slice of pop-culture Americana. Along with a drag show, and a \u003cem>Twin Peaks\u003c/em> costume contest, the theater will serve cherry pie and coffee — \u003ca href=\"https://youtu.be/n9O-lwCUBbo\">black as midnight on a moonless night\u003c/a>, naturally. It all happens on Sunday, Nov. 6, at the Balboa Theater in San Francisco. \u003ca href=\"https://www.balboamovies.com/calendar-of-events/twin-peaks-fest-w-sheryl-lee-amp-dana-ashbrook-in-person\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two kinds of people in this world: one who hears the following piece of music and feels nothing, and one who’s immediately transported to a strange, mythical world:\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/pXrjMaVoTy0'\n title='//www.youtube.com/embed/pXrjMaVoTy0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s the theme to \u003cem>Twin Peaks\u003c/em>, the short-lived 1990-1991 TV show. People often say that \u003cem>Twin Peaks\u003c/em> invented prestige TV, and it’s hard to argue: when it debuted, the networks were still dominated by sitcoms like \u003cem>The Cosby Show\u003c/em> and \u003cem>Cheers\u003c/em>. David Lynch’s strange, oddly paced show was like nothing on TV at the time, and it’s only seen its fan base grow and grow in the 30-odd years since.\u003c/p>\n\u003cp>So when the Balboa Theater in San Francisco hosts a \u003ca href=\"https://www.balboamovies.com/calendar-of-events/twin-peaks-fest-w-sheryl-lee-amp-dana-ashbrook-in-person\">\u003cem>Twin Peaks\u003c/em> celebration on Nov. 6\u003c/a> with some of the show’s original stars, expect a full house. Sheryl Lee, who played Laura Palmer, and Dana Ashbrook, who played Bobby Briggs, will be on hand to answer questions and sign autographs, and the theater will show select TV episodes along with two screenings of \u003cem>Twin Peaks: Fire Walk With Me\u003c/em> throughout the day.\u003c/p>\n\u003cp>And: if you’ve never seen \u003cem>Twin Peaks\u003c/em>? This is the perfect opportunity to be introduced to an eerie slice of pop-culture Americana. Along with a drag show, and a \u003cem>Twin Peaks\u003c/em> costume contest, the theater will serve cherry pie and coffee — \u003ca href=\"https://youtu.be/n9O-lwCUBbo\">black as midnight on a moonless night\u003c/a>, naturally. It all happens on Sunday, Nov. 6, at the Balboa Theater in San Francisco. \u003ca href=\"https://www.balboamovies.com/calendar-of-events/twin-peaks-fest-w-sheryl-lee-amp-dana-ashbrook-in-person\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After watching two episodes of the \u003cem>Inside Amy Schumer\u003c/em> revival on Paramount+, I had a couple of reactions:\u003c/p>\n\u003cp>[aside postid='arts_13910714']I’m glad Schumer is bringing her voice back for a fifth season of her Peabody and Emmy award-winning sketch show, just when pop culture and comedy need another strong, female-centered voice.\u003c/p>\n\u003cp>And I wish she had come back with stronger material.\u003c/p>\n\u003cp>As it is, the skits which fill the new version of \u003cem>Inside Amy Schumer \u003c/em>too often feel like undercooked ideas which may have started as a funny line pitched by somebody in a writers’ room. Or something somebody thought of while they were walking down the street on the way to that pitch meeting.\u003c/p>\n\u003ch3>Looking for laughs in “Fart Park”\u003c/h3>\n\u003cp>That’s how I felt watching “Fart Park,” a parody of pet and kid-friendly park spaces that features an area where people can, um, expel certain personal gases without judgement. Of course, it ends in a murder when somebody doesn’t follow the rules — kinda like a sketch thought up by a 5-year-old and scripted by an immature older sibling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another sketch features Schumer as a contestant on an unscripted dating show, asked to re-record things she said on camera that weren’t completely captured by the microphone in the moment. When Schumer’s character realizes she said stuff like she hopes her competitors get COVID and “the Jews are trying to replace us,” she rethinks her participation.\u003c/p>\n\u003cp>The takeaway — that dating shows are built around encouraging people to behave badly in ways they regret later — is obvious and not necessarily worth a full-on sketch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bdpEi7vIsgg\u003c/p>\n\u003cp>“Reality dating shows are bad for women,” Schumer says, speaking to the camera after the sketch ends. “They’re bad for men. And I will watch them all until I die.” It’s a great line; I just wish the sketch had explored the idea a little better.\u003c/p>\n\u003cp>Moments where Schumer or another performer speak to the camera after the sketch ends, adding a bit more context or another funny line, happen often (in the original series, Schumer would drop similar observations in a nightclub setting in front of an audience, like she was midway through a standup comedy set).\u003c/p>\n\u003cp>Unfortunately, in the new series, such asides come close to the biggest cardinal sin in comedy: explaining a joke after you’ve already let it fly.\u003c/p>\n\u003cp>Shorter sketches fared better — like a bit where Michael Ian Black plays an obnoxious pitchman selling products which make women feel terrible about their bodies, like Spanx for the shower or Skinny Girl coffins.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XY6T2bA755M\u003c/p>\n\u003cp>And a public service announcement for Colorado that hints women might want to travel there to get a certain unnamed procedure done that has been banned in other states after a Supreme Court decision, captured the growing desperation of our times, unfolding behind a TV host’s tight smile.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UtXIhTRFLk\u003c/p>\n\u003cp>There’s some cool cameos from stars like Olivia Wilde, Ellie Kemper and Bridget Everett. But other than brief appearances \u003cem>Grey’s Anatomy \u003c/em>alum Jesse Williams and performer/writer Yamaneika Saunders, Schumer’s lineup of onscreen collaborators seem dominated by white folks, which is an odd look for 2022.\u003c/p>\n\u003cp>Humor is an incredibly subjective arena, so I’m sure lots of Schumer’s fans will enjoy her return to sketch comedy more than I did. But much of the new material here felt undone by a lack of execution — intriguing ideas that just didn’t blossom past the initial set-up.\u003c/p>\n\u003cp>[aside postid='arts_13920534']It’s been six years since \u003cem>Inside Amy Schumer \u003c/em>originally aired on Comedy Central — that the revived show is on streamer Paramount+ instead of its original home tells you a lot about how media has changed in that time.\u003c/p>\n\u003cp>As a fan of the original series, I loved how Schumer found comedy in jarring sketches with a message — like a scene showing a woman \u003ca href=\"https://www.youtube.com/watch?v=BXGJGuH59qw\">playing a shoot-em-up video game \u003c/a>who finds her onscreen character forced to deal with how the military mishandles sexual assault, sending up both gamer culture and a real-life scandal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is nothing that insightful or subversive in the two episodes of \u003cem>Inside Amy Schumer\u003c/em> I previewed. But three more episodes are coming, so there’s hope Schumer amps up the execution and gives us the kind of cutting, insightful comedy we need, at a moment when the absurdity and oppression of real life threatens to overshadow anything a satirist can put on TV.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Return+of+%27Inside+Amy+Schumer%27+is+welcome%2C+even+when+it%27s+inconsistent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m glad Schumer is bringing her voice back for a fifth season of her Peabody and Emmy award-winning sketch show, just when pop culture and comedy need another strong, female-centered voice.\u003c/p>\n\u003cp>And I wish she had come back with stronger material.\u003c/p>\n\u003cp>As it is, the skits which fill the new version of \u003cem>Inside Amy Schumer \u003c/em>too often feel like undercooked ideas which may have started as a funny line pitched by somebody in a writers’ room. Or something somebody thought of while they were walking down the street on the way to that pitch meeting.\u003c/p>\n\u003ch3>Looking for laughs in “Fart Park”\u003c/h3>\n\u003cp>That’s how I felt watching “Fart Park,” a parody of pet and kid-friendly park spaces that features an area where people can, um, expel certain personal gases without judgement. Of course, it ends in a murder when somebody doesn’t follow the rules — kinda like a sketch thought up by a 5-year-old and scripted by an immature older sibling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another sketch features Schumer as a contestant on an unscripted dating show, asked to re-record things she said on camera that weren’t completely captured by the microphone in the moment. When Schumer’s character realizes she said stuff like she hopes her competitors get COVID and “the Jews are trying to replace us,” she rethinks her participation.\u003c/p>\n\u003cp>The takeaway — that dating shows are built around encouraging people to behave badly in ways they regret later — is obvious and not necessarily worth a full-on sketch.\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/bdpEi7vIsgg'\n title='//www.youtube.com/embed/bdpEi7vIsgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Reality dating shows are bad for women,” Schumer says, speaking to the camera after the sketch ends. “They’re bad for men. And I will watch them all until I die.” It’s a great line; I just wish the sketch had explored the idea a little better.\u003c/p>\n\u003cp>Moments where Schumer or another performer speak to the camera after the sketch ends, adding a bit more context or another funny line, happen often (in the original series, Schumer would drop similar observations in a nightclub setting in front of an audience, like she was midway through a standup comedy set).\u003c/p>\n\u003cp>Unfortunately, in the new series, such asides come close to the biggest cardinal sin in comedy: explaining a joke after you’ve already let it fly.\u003c/p>\n\u003cp>Shorter sketches fared better — like a bit where Michael Ian Black plays an obnoxious pitchman selling products which make women feel terrible about their bodies, like Spanx for the shower or Skinny Girl coffins.\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/XY6T2bA755M'\n title='//www.youtube.com/embed/XY6T2bA755M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And a public service announcement for Colorado that hints women might want to travel there to get a certain unnamed procedure done that has been banned in other states after a Supreme Court decision, captured the growing desperation of our times, unfolding behind a TV host’s tight smile.\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/5UtXIhTRFLk'\n title='//www.youtube.com/embed/5UtXIhTRFLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s some cool cameos from stars like Olivia Wilde, Ellie Kemper and Bridget Everett. But other than brief appearances \u003cem>Grey’s Anatomy \u003c/em>alum Jesse Williams and performer/writer Yamaneika Saunders, Schumer’s lineup of onscreen collaborators seem dominated by white folks, which is an odd look for 2022.\u003c/p>\n\u003cp>Humor is an incredibly subjective arena, so I’m sure lots of Schumer’s fans will enjoy her return to sketch comedy more than I did. But much of the new material here felt undone by a lack of execution — intriguing ideas that just didn’t blossom past the initial set-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been six years since \u003cem>Inside Amy Schumer \u003c/em>originally aired on Comedy Central — that the revived show is on streamer Paramount+ instead of its original home tells you a lot about how media has changed in that time.\u003c/p>\n\u003cp>As a fan of the original series, I loved how Schumer found comedy in jarring sketches with a message — like a scene showing a woman \u003ca href=\"https://www.youtube.com/watch?v=BXGJGuH59qw\">playing a shoot-em-up video game \u003c/a>who finds her onscreen character forced to deal with how the military mishandles sexual assault, sending up both gamer culture and a real-life scandal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is nothing that insightful or subversive in the two episodes of \u003cem>Inside Amy Schumer\u003c/em> I previewed. But three more episodes are coming, so there’s hope Schumer amps up the execution and gives us the kind of cutting, insightful comedy we need, at a moment when the absurdity and oppression of real life threatens to overshadow anything a satirist can put on TV.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Return+of+%27Inside+Amy+Schumer%27+is+welcome%2C+even+when+it%27s+inconsistent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "There Are More Women on TV But Ageism Persists, Says New Study",
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"content": "\u003cp>A new study shows that women are making strides in the TV industry, with a slight increase in the number of females working both on screen and behind-the-scenes.\u003c/p>\n\u003cp>[aside postid='arts_13919744']The annual \u003ca href=\"https://womenintvfilm.sdsu.edu/wp-content/uploads/2022/10/2021-22-Boxed-In-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxed In\u003c/em>\u003c/a> study from San Diego State University looked at over 3,000 characters and more than 3,800 credits in the 2021-2022 television season to determine the number of females working both on screen and behind the camera. They looked at shows on the major broadcast networks during prime time and all of the top streaming services.\u003c/p>\n\u003cp>Conducted by the \u003ca href=\"https://womenintvfilm.sdsu.edu/research/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of Women in Television & Film\u003c/a>, the news is pretty bright for people who believe women — about half the population — deserve to play major characters and serve in key, behind-the-scenes roles.\u003c/p>\n\u003cp>Some takeaways:\u003c/p>\n\u003cp>•In 2021-22, programs on streaming services featured a slightly higher percentage of female characters in speaking roles (47%) than programs on the broadcast networks (45%). That’s a 2% increase for streamers from 2020-21 and no change for broadcast programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>•Females represented 50% of major characters on streaming programs versus 48% on broadcast network programs. That’s a 3% increase for broadcasters and a 2% decline for streamers from 2020-21.\u003c/p>\n\u003cp>•Broadcast network programs had higher percentages of Black female (28%) and Latina (7%) characters in major roles than programs on streaming services (21% and 3%, respectively). Streaming programs included a higher percentage of Asian and Asian American females than those on the broadcast networks (15% vs. 10%).\u003c/p>\n\u003cp>•Women comprised 37% of individuals working in key behind-the-scenes roles on streaming programs but 31% on broadcast network programs.\u003c/p>\n\u003cp>\u003cstrong>Ageism in Hollywood is as old as the hills\u003c/strong>\u003c/p>\n\u003cp>“It’s like you go from sexy to Depends,” \u003ca href=\"https://www.npr.org/2022/09/12/1122482188/encore-brooke-shields-is-getting-older-in-the-public-eye-and-wants-to-talk-about\" target=\"_blank\" rel=\"noopener noreferrer\">Brooke Shields told NPR\u003c/a> earlier this year. “And there’s this whole margin in the middle that … are vibrant.” The \u003cem>Boxed In\u003c/em> study has some data to back that up.\u003c/p>\n\u003cp>[aside postid='arts_13918217']“At about the age of 40, female characters begin to disappear in substantial numbers from both broadcast and streaming programs,” the report concludes. “On broadcast programs, the percentage of major female characters plummeted from 42% in their 30s to 15% in their 40s. Similarly, on streaming programs the percentage of major females dropped from 33% in their 30s to 14% in their 40s.”\u003c/p>\n\u003cp>Over 60? You’re probably not seeing yourself represented much at all on screen, despite the fact that \u003ca href=\"https://www.census.gov/newsroom/stories/senior-citizens-day.html\" target=\"_blank\" rel=\"noopener noreferrer\">the U.S. population is aging\u003c/a>.\u003c/p>\n\u003cp>•Women 60 and over continue to be dramatically under-represented. Women comprised just 3% of major female characters 60 and over on broadcast programs and 3% on streaming programs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The absence of older women on screen is “such a dated gender stereotype that I’m always surprised to see that it remains in both television and film,” said Dr. Martha Lauzen, professor and executive director of the Center for the Study of Women in Television and Film at San Diego State University. In an email to NPR, Lauzen added that the age disparity “has been consistent” since she started conducting the studies over 20 years ago.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There+are+more+women+on+TV+but+ageism+persists%2C+says+new+study&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The annual \u003ca href=\"https://womenintvfilm.sdsu.edu/wp-content/uploads/2022/10/2021-22-Boxed-In-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxed In\u003c/em>\u003c/a> study from San Diego State University looked at over 3,000 characters and more than 3,800 credits in the 2021-2022 television season to determine the number of females working both on screen and behind the camera. They looked at shows on the major broadcast networks during prime time and all of the top streaming services.\u003c/p>\n\u003cp>Conducted by the \u003ca href=\"https://womenintvfilm.sdsu.edu/research/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of Women in Television & Film\u003c/a>, the news is pretty bright for people who believe women — about half the population — deserve to play major characters and serve in key, behind-the-scenes roles.\u003c/p>\n\u003cp>Some takeaways:\u003c/p>\n\u003cp>•In 2021-22, programs on streaming services featured a slightly higher percentage of female characters in speaking roles (47%) than programs on the broadcast networks (45%). That’s a 2% increase for streamers from 2020-21 and no change for broadcast programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>•Females represented 50% of major characters on streaming programs versus 48% on broadcast network programs. That’s a 3% increase for broadcasters and a 2% decline for streamers from 2020-21.\u003c/p>\n\u003cp>•Broadcast network programs had higher percentages of Black female (28%) and Latina (7%) characters in major roles than programs on streaming services (21% and 3%, respectively). Streaming programs included a higher percentage of Asian and Asian American females than those on the broadcast networks (15% vs. 10%).\u003c/p>\n\u003cp>•Women comprised 37% of individuals working in key behind-the-scenes roles on streaming programs but 31% on broadcast network programs.\u003c/p>\n\u003cp>\u003cstrong>Ageism in Hollywood is as old as the hills\u003c/strong>\u003c/p>\n\u003cp>“It’s like you go from sexy to Depends,” \u003ca href=\"https://www.npr.org/2022/09/12/1122482188/encore-brooke-shields-is-getting-older-in-the-public-eye-and-wants-to-talk-about\" target=\"_blank\" rel=\"noopener noreferrer\">Brooke Shields told NPR\u003c/a> earlier this year. “And there’s this whole margin in the middle that … are vibrant.” The \u003cem>Boxed In\u003c/em> study has some data to back that up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“At about the age of 40, female characters begin to disappear in substantial numbers from both broadcast and streaming programs,” the report concludes. “On broadcast programs, the percentage of major female characters plummeted from 42% in their 30s to 15% in their 40s. Similarly, on streaming programs the percentage of major females dropped from 33% in their 30s to 14% in their 40s.”\u003c/p>\n\u003cp>Over 60? You’re probably not seeing yourself represented much at all on screen, despite the fact that \u003ca href=\"https://www.census.gov/newsroom/stories/senior-citizens-day.html\" target=\"_blank\" rel=\"noopener noreferrer\">the U.S. population is aging\u003c/a>.\u003c/p>\n\u003cp>•Women 60 and over continue to be dramatically under-represented. Women comprised just 3% of major female characters 60 and over on broadcast programs and 3% on streaming programs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The absence of older women on screen is “such a dated gender stereotype that I’m always surprised to see that it remains in both television and film,” said Dr. Martha Lauzen, professor and executive director of the Center for the Study of Women in Television and Film at San Diego State University. In an email to NPR, Lauzen added that the age disparity “has been consistent” since she started conducting the studies over 20 years ago.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There+are+more+women+on+TV+but+ageism+persists%2C+says+new+study&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Magpie Murders' is a Hall-of-Mirrors Whodunit With a Satisfying Resolution",
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"content": "\u003cp>Ever since Edgar Allan Poe created the modern detective story, mystery writers have sought ways to keep the genre exciting — dreaming up impossible crimes in locked rooms, setting murders in unexpected places, including medieval monasteries, South Korean military bases and cyberspace. These days, they’ve grown fond of what we can call the meta-mystery, the mystery \u003cem>about\u003c/em> a mystery.\u003c/p>\n\u003cp>A textbook example is \u003cem>Magpie Murders\u003c/em>, PBS’ new series on MASTERPIECE Mystery! It’s based on the bestselling novel by Anthony Horowitz, who, among other things, created the excellent World War II detective show \u003ca href=\"https://www.npr.org/2015/02/24/388720196/fair-warning-if-you-watch-one-foyles-war-episode-youll-watch-them-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Foyle’s War\u003c/em>\u003c/a>. But where that earlier series was steeped in history, this lively new one is about the perils and pleasures of cleverness.\u003c/p>\n\u003cp>[aside postid='arts_13919209']\u003ca href=\"https://www.npr.org/2022/07/16/1111868472/lesley-manville-is-the-effervescent-title-character-in-mrs-harris-goes-to-paris\" target=\"_blank\" rel=\"noopener noreferrer\">Lesley Manville\u003c/a> stars as Susan Ryeland, a London book editor who doesn’t get along with her most important writer, Alan Conway. He’s played by Conleth Hill, best known as the eunuch Lord Varys in \u003cem>Game of Thrones\u003c/em>. A nasty sort, Conway has grown rich writing novels about a 1950s detective named Atticus Pünd. As the show begins, he’s just turned in his latest book, also titled \u003cem>Magpie Murders\u003c/em>. But there are two problems. The copy Susan receives is missing the final chapter in which Atticus Pünd solves the mystery. Even worse, Conway has been found dead in his country mansion in Suffolk. Is his death suicide — or murder?\u003c/p>\n\u003cp>Susan desperately tries to find the missing pages. Meeting with the people who know Conway, she soon grasps that his latest Pünd novel is populated with characters who are actually caricatures of \u003cem>them\u003c/em> — his sister, his ex-wife, his just-dumped boyfriend, his aggrieved gardener, and so forth. They all have reason to hate him. If Conway \u003cem>was\u003c/em> murdered, his novel — and missing final chapter — may hold the answer to who did it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uviPytfoJAk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this makes the TV series \u003cem>Magpie Murder\u003c/em>s something of a hall of mirrors. Even as Susan looks for answers about Conway’s novel in the real world, the show offers a parallel track along which we watch Atticus Pünd — wryly played by Tim McMullan — attempt to solve the murder story in Conway’s novel. Several of the actors appear in both tracks — for instance, Matthew Beard plays both Conway’s cynical ex-boyfriend \u003cem>and\u003c/em> Pünd’s dim sidekick. As if that weren’t enough, Susan even begins having conversations with Atticus Pünd, who gives her mystery-solving advice.\u003c/p>\n\u003cp>Now, \u003cem>Magpie Murders\u003c/em> is not the first time someone has woven its protagonist into a fictional storyline. \u003ca href=\"https://www.npr.org/2022/02/20/1082012476/new-books-buster-keaton-silent-film-star\" target=\"_blank\" rel=\"noopener noreferrer\">Buster Keaton\u003c/a> did it more wittily in \u003cem>Sherlock, Jr\u003c/em>., where he plays a wannabe detective who falls asleep and enters a crime movie; \u003ca href=\"https://www.npr.org/2009/02/17/100768511/unraveling-the-mystery-and-talent-of-dennis-potter\" target=\"_blank\" rel=\"noopener noreferrer\">Dennis Potter\u003c/a> did it more movingly in \u003ca href=\"https://www.npr.org/2012/02/24/147037460/25-years-later-the-singing-detective-still-shines\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Singing Detective\u003c/em>\u003c/a>\u003cem>,\u003c/em> about a man in a hospital who weaves a private eye story to help escape the pain of his life.\u003c/p>\n\u003cp>[aside postid='arts_13920084']Yet to say that the series doesn’t rival those two landmarks is hardly a damning criticism. The show is brisk and very enjoyably acted, especially by Manville, whom you may know from numerous Mike Leigh films and as the sister to Daniel Day-Lewis’ character in \u003ca href=\"https://www.npr.org/2017/12/22/571966088/impeccable-phantom-thread-doesn-t-drop-a-stitch\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Phantom Thread\u003c/em>\u003c/a>. She plays Susan with just the right level of seriousness. She nails the script’s sharp lines and captures the bustling way that she buries herself in her job, thereby letting her avoid dealing with personal issues, like her Greek boyfriend who wants her to move to Crete and run a hotel, or her sister who wants her to make peace with her dying father.\u003c/p>\n\u003cp>It was the torment of Conway’s literary career that he wanted to write serious books on serious themes, but the public only wanted the cleverness of Atticus Pünd. Horowitz, who adapted his own novel, clearly feels no such artistic frustration. Possessed of boundless energy — he’s also written Sherlock Holmes novels, James Bond novels and the Alex Rider YA series, among others — he feels no shame in being clever and entertaining. On the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indeed, \u003cem>Magpie Murder\u003c/em>s neatly riffs on the relationship of art and life. It’s especially astute about the consolations of detective novels. In a world of emotional uncertainties, Susan notes, the Atticus Pünd novels offer the pleasurable closure of a neat resolution. The same is true of this TV series. Our daily lives may not be easy, but at the end of \u003cem>Magpie Murders\u003c/em> we get the satisfaction of knowing who done it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Magpie+Murders%27+is+a+hall-of-mirrors+whodunit+with+a+satisfying+resolution&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since Edgar Allan Poe created the modern detective story, mystery writers have sought ways to keep the genre exciting — dreaming up impossible crimes in locked rooms, setting murders in unexpected places, including medieval monasteries, South Korean military bases and cyberspace. These days, they’ve grown fond of what we can call the meta-mystery, the mystery \u003cem>about\u003c/em> a mystery.\u003c/p>\n\u003cp>A textbook example is \u003cem>Magpie Murders\u003c/em>, PBS’ new series on MASTERPIECE Mystery! It’s based on the bestselling novel by Anthony Horowitz, who, among other things, created the excellent World War II detective show \u003ca href=\"https://www.npr.org/2015/02/24/388720196/fair-warning-if-you-watch-one-foyles-war-episode-youll-watch-them-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Foyle’s War\u003c/em>\u003c/a>. But where that earlier series was steeped in history, this lively new one is about the perils and pleasures of cleverness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2022/07/16/1111868472/lesley-manville-is-the-effervescent-title-character-in-mrs-harris-goes-to-paris\" target=\"_blank\" rel=\"noopener noreferrer\">Lesley Manville\u003c/a> stars as Susan Ryeland, a London book editor who doesn’t get along with her most important writer, Alan Conway. He’s played by Conleth Hill, best known as the eunuch Lord Varys in \u003cem>Game of Thrones\u003c/em>. A nasty sort, Conway has grown rich writing novels about a 1950s detective named Atticus Pünd. As the show begins, he’s just turned in his latest book, also titled \u003cem>Magpie Murders\u003c/em>. But there are two problems. The copy Susan receives is missing the final chapter in which Atticus Pünd solves the mystery. Even worse, Conway has been found dead in his country mansion in Suffolk. Is his death suicide — or murder?\u003c/p>\n\u003cp>Susan desperately tries to find the missing pages. Meeting with the people who know Conway, she soon grasps that his latest Pünd novel is populated with characters who are actually caricatures of \u003cem>them\u003c/em> — his sister, his ex-wife, his just-dumped boyfriend, his aggrieved gardener, and so forth. They all have reason to hate him. If Conway \u003cem>was\u003c/em> murdered, his novel — and missing final chapter — may hold the answer to who did it.\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/uviPytfoJAk'\n title='//www.youtube.com/embed/uviPytfoJAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this makes the TV series \u003cem>Magpie Murder\u003c/em>s something of a hall of mirrors. Even as Susan looks for answers about Conway’s novel in the real world, the show offers a parallel track along which we watch Atticus Pünd — wryly played by Tim McMullan — attempt to solve the murder story in Conway’s novel. Several of the actors appear in both tracks — for instance, Matthew Beard plays both Conway’s cynical ex-boyfriend \u003cem>and\u003c/em> Pünd’s dim sidekick. As if that weren’t enough, Susan even begins having conversations with Atticus Pünd, who gives her mystery-solving advice.\u003c/p>\n\u003cp>Now, \u003cem>Magpie Murders\u003c/em> is not the first time someone has woven its protagonist into a fictional storyline. \u003ca href=\"https://www.npr.org/2022/02/20/1082012476/new-books-buster-keaton-silent-film-star\" target=\"_blank\" rel=\"noopener noreferrer\">Buster Keaton\u003c/a> did it more wittily in \u003cem>Sherlock, Jr\u003c/em>., where he plays a wannabe detective who falls asleep and enters a crime movie; \u003ca href=\"https://www.npr.org/2009/02/17/100768511/unraveling-the-mystery-and-talent-of-dennis-potter\" target=\"_blank\" rel=\"noopener noreferrer\">Dennis Potter\u003c/a> did it more movingly in \u003ca href=\"https://www.npr.org/2012/02/24/147037460/25-years-later-the-singing-detective-still-shines\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Singing Detective\u003c/em>\u003c/a>\u003cem>,\u003c/em> about a man in a hospital who weaves a private eye story to help escape the pain of his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet to say that the series doesn’t rival those two landmarks is hardly a damning criticism. The show is brisk and very enjoyably acted, especially by Manville, whom you may know from numerous Mike Leigh films and as the sister to Daniel Day-Lewis’ character in \u003ca href=\"https://www.npr.org/2017/12/22/571966088/impeccable-phantom-thread-doesn-t-drop-a-stitch\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Phantom Thread\u003c/em>\u003c/a>. She plays Susan with just the right level of seriousness. She nails the script’s sharp lines and captures the bustling way that she buries herself in her job, thereby letting her avoid dealing with personal issues, like her Greek boyfriend who wants her to move to Crete and run a hotel, or her sister who wants her to make peace with her dying father.\u003c/p>\n\u003cp>It was the torment of Conway’s literary career that he wanted to write serious books on serious themes, but the public only wanted the cleverness of Atticus Pünd. Horowitz, who adapted his own novel, clearly feels no such artistic frustration. Possessed of boundless energy — he’s also written Sherlock Holmes novels, James Bond novels and the Alex Rider YA series, among others — he feels no shame in being clever and entertaining. On the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indeed, \u003cem>Magpie Murder\u003c/em>s neatly riffs on the relationship of art and life. It’s especially astute about the consolations of detective novels. In a world of emotional uncertainties, Susan notes, the Atticus Pünd novels offer the pleasurable closure of a neat resolution. The same is true of this TV series. Our daily lives may not be easy, but at the end of \u003cem>Magpie Murders\u003c/em> we get the satisfaction of knowing who done it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Magpie+Murders%27+is+a+hall-of-mirrors+whodunit+with+a+satisfying+resolution&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Who Is 'The Friends Experience' For? We Went and Still Can't Figure it Out",
"headTitle": "Who Is ‘The Friends Experience’ For? We Went and Still Can’t Figure it Out | KQED",
"content": "\u003cp>In Season 5, episode 20 of \u003cem>Friends\u003c/em>, Ross, Chandler and Joey go on a ride-along with Phoebe’s cop boyfriend, Gary. After a car backfires in their vicinity, the gang confuses the sound for a gunshot, and Ross ends the night claiming he’s had a near-death experience. When Rachel finds out the truth, she chastises him. “Ross!” she exclaims. “That was not a near-death experience! That was barely an experience!”\u003c/p>\n\u003cp>[aside postid='pop_106765']That phrase — \u003cem>barely an experience\u003c/em> — rolled around my head after visiting \u003ca href=\"https://sanfrancisco.friendstheexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Friends Experience\u003c/em>\u003c/a>, a new immersive event currently in downtown San Francisco. Set up in the former H&M flagship store on Powell St., any whiff of a bargain is long-gone. Adult tickets cost between $42 and $60, plus (\u003cem>Oh. My. Gawd\u003c/em>) $6–$9 booking fees. Meanwhile, the gift shop offers $50 sweatpants, $45 aprons and basic Central Perk coffee cup ornaments that are somehow $35. Each \u003cem>Friends\u003c/em> character gets their own small corner of the exhibit, but the one I left thinking about was Phoebe. Specifically, 14-year-old Phoebe screaming “Gimme your money, punk!” at suckers on the street.\u003c/p>\n\u003cp>At its core, this smaller version of the already established \u003ca href=\"https://www.friendstheexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New York City \u003cem>Friends Experience\u003c/em>\u003c/a> is a collection of selfie opportunities interspersed with a few replica items. Think Joey’s dog statue (behind a rope so visitors don’t ride it) and Monica’s fez-wearing Thanksgiving turkey (in a display cube lest anyone put it on their heads). The only props here that appeared in the actual show are the soap powder box from “The One With the East German Laundry Detergent” and a box of Girl Scout cookies Ross sold in “The One Where Rachel Quits.” (Could I \u003cem>be\u003c/em> any more underwhelmed?)\u003c/p>\n\u003cfigure id=\"attachment_13920302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.16.25-PM-800x586.png\" alt=\"A woman sits at a kitchen table on a set resembling one from 1990s TV show, 'Friends.'\" width=\"800\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts Engagement Producer Ria Garewal in Monica’s kitchen, as depicted in ‘The Friends Experience,’ San Francisco. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are one of those humans enthusiastic about forking over hard-earned cash to pose next to things, there are certainly things to pose next to at \u003cem>The Friends Experience\u003c/em>: recreations of Joey and Chandler’s living room, Monica and Rachel’s kitchen, the hallway, the balcony, Central Perk, the couch next to the fountain and the stairwell where Ross yelled “Pivot!” While all of these rooms are novel to see in 3D, none of them work hard enough to convince visitors they’re on the actual real-life \u003cem>Friends\u003c/em> set.[aside postid='arts_13897888']\u003c/p>\n\u003cp>It might sound pedantic that I noticed the absence of Monica’s white Cookie Time clock, and the fact that the shelves on the fake sets felt strangely sparse, but when ticket prices are this high, fans deserve that sort of attention to detail. Some of the issues at \u003cem>The Friends Experience\u003c/em> aren’t small, either. Joey and Chandler’s leather chairs are facing the wrong direction, and their foosball table is in a really weird place. Monica’s famous purple front door doesn’t open (even though images on the official website depict otherwise), limiting how much fun you can actually have with it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Worst of all, there’s a wig display that’s supposed to represent “The Rachel.” It bears very little resemblance to Jennifer Aniston’s hairstyle journey on the show — a big \u003cem>Va’ fa Napoli \u003c/em>to everyone who remembers what she actually looked like.\u003c/p>\n\u003cfigure id=\"attachment_13920300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-800x464.png\" alt=\"A red, blue and yellow display featuring five dummy heads wearing wigs of different hairstyles.\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-800x464.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-1020x592.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-1536x892.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-2048x1189.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-1920x1115.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Rachel’ haircut as depicted by wigs at ‘The Friends Experience.’ \u003ccite>(Ria Garewal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That slapdash approach carries over into a downright perplexing section purporting to feature classic \u003cem>Friends\u003c/em> fashions. Not only does this area omit anything iconic, it features only one ensemble my companion and I — both ardent \u003cem>Friends\u003c/em> nerds — even recognized. If you were hoping to see Ross’ leather pants, Chandler’s sweater vest, Phoebe’s Santa pants, Monica’s ‘Girls’ sweater or one of Rachel Green’s scores of fashion-forward moments, this particular corner of \u003cem>The Friends Experience\u003c/em> will leave you wondering if anyone responsible for it watched the show past Season 1.\u003c/p>\n\u003cp>\u003cem>The Friends Experience\u003c/em> is not all bad. There are blown up copies of Ross’ “Science Boy” comic strip, as well as Rachel’s 18-page letter to Ross (front and back!) to read. There’s a quick trivia quiz. There’s also a wall of flyers based on memorable moments from the show’s 10 seasons that is a genuine joy to pick through. (The flyer for Estelle’s talent agency should be in the gift shop.)\u003c/p>\n\u003cp>Even when \u003cem>The Friends Experience\u003c/em> is getting stuff right, though, it’s also somehow getting it wrong. A genuinely interesting video interview with costume designer Debra McGuire is positioned too close to another recording (Ross yelling “Pivot!”) to listen to it comfortably. A subway map of the characters’ love interests throughout the seasons is set up in an area that makes it too hard to read.\u003c/p>\n\u003cfigure id=\"attachment_13920303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-800x557.png\" alt=\"A wall of posters haphazardly thrown together on a fake brick wall.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-768x534.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-1536x1069.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-1920x1336.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM.png 1986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wall of fake (and fun) flyers at ‘The Friends Experience’. \u003ccite>(Ria Garewal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Friends Experience,\u003c/em> as I had it — a press preview before it opened to the public — is as good as it’s going to get. No crowds, no on-the-clock tour guide pushing us along, no waiting for other fans to take their photos. And yet at no point was I able to figure out whom this exhibit was designed for. Only big-time fans would pay this ticket price, but big-time fans will learn almost nothing new from \u003cem>The Friends Experience\u003c/em>. Not to mention the fact that most \u003cem>Friends\u003c/em> fans from its original run are of a generation where the idea of taking selfies on sets for social media purposes holds extremely limited appeal.\u003c/p>\n\u003cp>[aside postid='pop_105499']Clearly the original \u003cem>Friends Experience\u003c/em> in New York has been a success. If it wasn’t, touring equivalents wouldn’t be weaving their way around the country right now. But \u003cem>Friends\u003c/em> fans — even the casual ones — deserve more than “The One in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Friends Experience’ is now open at 150 Powell St., San Francisco. \u003ca href=\"https://sanfrancisco.friendstheexperience.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Season 5, episode 20 of \u003cem>Friends\u003c/em>, Ross, Chandler and Joey go on a ride-along with Phoebe’s cop boyfriend, Gary. After a car backfires in their vicinity, the gang confuses the sound for a gunshot, and Ross ends the night claiming he’s had a near-death experience. When Rachel finds out the truth, she chastises him. “Ross!” she exclaims. “That was not a near-death experience! That was barely an experience!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That phrase — \u003cem>barely an experience\u003c/em> — rolled around my head after visiting \u003ca href=\"https://sanfrancisco.friendstheexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Friends Experience\u003c/em>\u003c/a>, a new immersive event currently in downtown San Francisco. Set up in the former H&M flagship store on Powell St., any whiff of a bargain is long-gone. Adult tickets cost between $42 and $60, plus (\u003cem>Oh. My. Gawd\u003c/em>) $6–$9 booking fees. Meanwhile, the gift shop offers $50 sweatpants, $45 aprons and basic Central Perk coffee cup ornaments that are somehow $35. Each \u003cem>Friends\u003c/em> character gets their own small corner of the exhibit, but the one I left thinking about was Phoebe. Specifically, 14-year-old Phoebe screaming “Gimme your money, punk!” at suckers on the street.\u003c/p>\n\u003cp>At its core, this smaller version of the already established \u003ca href=\"https://www.friendstheexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New York City \u003cem>Friends Experience\u003c/em>\u003c/a> is a collection of selfie opportunities interspersed with a few replica items. Think Joey’s dog statue (behind a rope so visitors don’t ride it) and Monica’s fez-wearing Thanksgiving turkey (in a display cube lest anyone put it on their heads). The only props here that appeared in the actual show are the soap powder box from “The One With the East German Laundry Detergent” and a box of Girl Scout cookies Ross sold in “The One Where Rachel Quits.” (Could I \u003cem>be\u003c/em> any more underwhelmed?)\u003c/p>\n\u003cfigure id=\"attachment_13920302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.16.25-PM-800x586.png\" alt=\"A woman sits at a kitchen table on a set resembling one from 1990s TV show, 'Friends.'\" width=\"800\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts Engagement Producer Ria Garewal in Monica’s kitchen, as depicted in ‘The Friends Experience,’ San Francisco. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are one of those humans enthusiastic about forking over hard-earned cash to pose next to things, there are certainly things to pose next to at \u003cem>The Friends Experience\u003c/em>: recreations of Joey and Chandler’s living room, Monica and Rachel’s kitchen, the hallway, the balcony, Central Perk, the couch next to the fountain and the stairwell where Ross yelled “Pivot!” While all of these rooms are novel to see in 3D, none of them work hard enough to convince visitors they’re on the actual real-life \u003cem>Friends\u003c/em> set.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It might sound pedantic that I noticed the absence of Monica’s white Cookie Time clock, and the fact that the shelves on the fake sets felt strangely sparse, but when ticket prices are this high, fans deserve that sort of attention to detail. Some of the issues at \u003cem>The Friends Experience\u003c/em> aren’t small, either. Joey and Chandler’s leather chairs are facing the wrong direction, and their foosball table is in a really weird place. Monica’s famous purple front door doesn’t open (even though images on the official website depict otherwise), limiting how much fun you can actually have with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Worst of all, there’s a wig display that’s supposed to represent “The Rachel.” It bears very little resemblance to Jennifer Aniston’s hairstyle journey on the show — a big \u003cem>Va’ fa Napoli \u003c/em>to everyone who remembers what she actually looked like.\u003c/p>\n\u003cfigure id=\"attachment_13920300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-800x464.png\" alt=\"A red, blue and yellow display featuring five dummy heads wearing wigs of different hairstyles.\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-800x464.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-1020x592.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-1536x892.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-2048x1189.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-10.46.44-PM-1920x1115.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Rachel’ haircut as depicted by wigs at ‘The Friends Experience.’ \u003ccite>(Ria Garewal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That slapdash approach carries over into a downright perplexing section purporting to feature classic \u003cem>Friends\u003c/em> fashions. Not only does this area omit anything iconic, it features only one ensemble my companion and I — both ardent \u003cem>Friends\u003c/em> nerds — even recognized. If you were hoping to see Ross’ leather pants, Chandler’s sweater vest, Phoebe’s Santa pants, Monica’s ‘Girls’ sweater or one of Rachel Green’s scores of fashion-forward moments, this particular corner of \u003cem>The Friends Experience\u003c/em> will leave you wondering if anyone responsible for it watched the show past Season 1.\u003c/p>\n\u003cp>\u003cem>The Friends Experience\u003c/em> is not all bad. There are blown up copies of Ross’ “Science Boy” comic strip, as well as Rachel’s 18-page letter to Ross (front and back!) to read. There’s a quick trivia quiz. There’s also a wall of flyers based on memorable moments from the show’s 10 seasons that is a genuine joy to pick through. (The flyer for Estelle’s talent agency should be in the gift shop.)\u003c/p>\n\u003cp>Even when \u003cem>The Friends Experience\u003c/em> is getting stuff right, though, it’s also somehow getting it wrong. A genuinely interesting video interview with costume designer Debra McGuire is positioned too close to another recording (Ross yelling “Pivot!”) to listen to it comfortably. A subway map of the characters’ love interests throughout the seasons is set up in an area that makes it too hard to read.\u003c/p>\n\u003cfigure id=\"attachment_13920303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-800x557.png\" alt=\"A wall of posters haphazardly thrown together on a fake brick wall.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-768x534.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-1536x1069.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM-1920x1336.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-12-at-11.50.13-PM.png 1986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wall of fake (and fun) flyers at ‘The Friends Experience’. \u003ccite>(Ria Garewal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Friends Experience,\u003c/em> as I had it — a press preview before it opened to the public — is as good as it’s going to get. No crowds, no on-the-clock tour guide pushing us along, no waiting for other fans to take their photos. And yet at no point was I able to figure out whom this exhibit was designed for. Only big-time fans would pay this ticket price, but big-time fans will learn almost nothing new from \u003cem>The Friends Experience\u003c/em>. Not to mention the fact that most \u003cem>Friends\u003c/em> fans from its original run are of a generation where the idea of taking selfies on sets for social media purposes holds extremely limited appeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clearly the original \u003cem>Friends Experience\u003c/em> in New York has been a success. If it wasn’t, touring equivalents wouldn’t be weaving their way around the country right now. But \u003cem>Friends\u003c/em> fans — even the casual ones — deserve more than “The One in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Friends Experience’ is now open at 150 Powell St., San Francisco. \u003ca href=\"https://sanfrancisco.friendstheexperience.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Reception for the latest episode of many people’s favorite comfort show was sour yesterday, when \u003cem>The\u003c/em> \u003cem>Great British Bake Off\u003c/em> aired a “Mexican week” episode that some viewers say was anything but sweet.\u003c/p>\n\u003cp>The British\u003cstrong> \u003c/strong>baking competition series pits amateur bakers against one another to impress two judges, Prue Leith and Paul Hollywood. Their most recent episode had contestants tackle Mexican staples such as pan dulce, tacos, and a tres leches cake. While the episode has not yet aired in the U.S., people on social media were already skeptical when Leith\u003cstrong> \u003c/strong>promoted the episode’s title on Twitter.\u003c/p>\n\u003cp>https://twitter.com/felipetmedinaa/status/1577381602040102917\u003c/p>\n\u003cp>The episode began with hosts Matt Lucas and Noel Fielding wearing sombreros and sarapes. In the scene, Fielding tells Lucas, “I don’t feel like we should make Mexican jokes, because people will get upset.” Lucas then responds with, “Not even Juan?” The joke, which was shared by the show’s own Twitter account, was not received well on social media.\u003c/p>\n\u003cp>https://twitter.com/TVasquez/status/1577501469343109121\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ignacio M. Sánchez Prado, a professor of Mexican cultural studies at Washington University in St. Louis, told NPR via email that while he’s yet to view the episode, its social media campaign is not surprising\u003c/p>\n\u003cp>“The fundamental issue is that the episode and its campaign follow a script on Mexican culture that us Mexicans, from either side of the U.S.-Mexico border, see very frequently,” he said.\u003cstrong> “\u003c/strong>The use of cartoonish sarapes and sombreros as props and disguises, the misidentification of Mexican food with the stuff sold in Taco Bell, the borrowing of beloved dishes like tres leches to make versions that have little recognizability to Mexicans, this is something that we see every Cinco de Mayo and every Hispanic Heritage Month.”\u003c/p>\n\u003cp>Apart from the show’s social media campaign, the episode itself also contained various Spanish mispronunciations, maraca-playing, conversations about tequila and a cake donning a mustache. And although the word “bake” is in the title, the episode’s taco-making challenge threw viewers for a loop since it involves cooking.\u003c/p>\n\u003cp>https://twitter.com/ceryshu67648227/status/1577380949880442882\u003c/p>\n\u003cp>“British viewers, from what I have seen online, appear to be puzzled by the fact of having a taco challenge, which in fact has nothing to do with baking,” Sánchez Prado said. “That is pure laziness. What if they have instead looked into wedding cookies? Or empanadas? Or made something with bolillos and teleras?”\u003c/p>\n\u003cp>Sánchez Prado said the episode was ultimately a missed opportunity for the show to do its due diligence and explore some of the the intersections between European and Mexican baking traditions, such as pastes Hidalguenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It would have been deeply meaningful if they had actually done work in researching actual Mexican baking traditions…Instead, they have incensed Mexicans, because once again a major global outlet insults us by reiterating stereotypes and reductions against which we fight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+%27Great+British+Bake+Off%27+episode+stereotypes+Mexican+culture%2C+viewers+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Late in the new season of \u003cem>Ramy\u003c/em>, its Egyptian American title character is talking with Dennis, a white guy who’s converted to Islam. Far stricter in his Muslim beliefs than Ramy himself, Dennis vehemently divides the world into things that are either \u003cem>halal \u003c/em>(permissible for Muslims) or \u003cem>haram \u003c/em>(not permissible). Gazing intently at Ramy, he says, “Only engage in \u003cem>halal \u003c/em>comedy.”\u003c/p>\n\u003cp>That’s just what the show’s creator and star, Ramy Youssef, refuses to do. Ever since this award-winning Hulu series hit the screen back in 2019, \u003cem>Ramy \u003c/em>has juggled the \u003cem>halal \u003c/em>and the \u003cem>haram \u003c/em>to fashion a daringly brilliant comic-drama about Muslim life in America that aims higher than almost anything else on TV. Its third season finds Youssef leading us into murkier waters than ever before.\u003c/p>\n\u003cp>As you may know, Youssef draws on his own life for his character, Ramy Hassan, the millennial son of an immigrant Muslim family in New Jersey. Ramy’s Egyptian father Farouk (Amr Waked) and Palestinian mother Maysa (Hiam Abbas) favor Ramy over his rebellious sister Dena (May Calamawy) — even though she, not he, is the hardworking, reliable one.\u003c/p>\n\u003cp>[aside postid='arts_13917950']Ramy wants to be a good guy and spiritual Muslim; yet even as he refuses intoxicants and dutifully prays, he’s constantly watching porn and sleeping around. As he vows to change, his friends — devout Ahmed, acid-tongued Steve, and blustering Mo (who now has his own show on Netflix) — all think him a galloping narcissist. In fact, over the first two seasons, we come to realize that, as boyish and amusing as Ramy can be, he wreaks a lot of emotional damage on those around him.\u003c/p>\n\u003cp>Season 2 ended so perfectly — with a cruel betrayal and Ramy once again hoping to become moral — that I thought the series could’ve stopped right there. I wondered if there was anything more to get out of watching Ramy shuttle between Muslim aspirations and sexual shenanigans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Youssef evidently sensed this, too. In the jampacked Season 3, Ramy turns his attention away from both God and sex, and — to the horror of his parents — gets into business with Israelis. Supermodel Bella Hadid joins the cast, and Youssef deals with tricky topics that American shows usually skirt, including abortion and Palestine. And he does it all in a show that’s funny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mmEVInY_2yw\u003c/p>\n\u003cp>\u003cem>Ramy \u003c/em>has been rightly lauded for its groundbreaking portrait of Muslim American life from the inside. Interested in everyone, Youssef devotes whole episodes to both of Ramy’s parents, who are disappointed in their hopes for a grander life in America; to his sister, who’s tormented by her family’s conservative values; and to his bullying Uncle Naseem (Laith Nakli), a coarse anti-Semite and misogynist who has sex with men but refuses to think he’s gay.\u003c/p>\n\u003cp>The show sets out to transcend clichés about Muslim American life and reveal its vast range — giving us devout doctors, porn stars, hardworking immigrants and charismatic Sufi leaders like the one majestically played in season 2 by \u003ca href=\"https://www.npr.org/2017/02/16/515587027/in-moonlight-actor-mahershala-ali-found-characters-he-recognized\" target=\"_blank\" rel=\"noopener noreferrer\">Mahershala Ali\u003c/a>. Season 3 takes us overseas to depict an Egypt far different to the one Westerners normally see, gets Ramy stuck at a checkpoint in Israel, and drops us into a gaudy Muslim expo in New Jersey where everyone from jewelers to media savvy imams are working to rake in the dough.\u003c/p>\n\u003cp>[aside postid='arts_13919178']Youssef keeps pushing into places nobody else has gone. His season 1 episode on Sept. 11 is the best thing I’ve seen on being a Muslim in America after the attacks. It’s in this episode that Ramy meets his truth-telling friend Steve, who has Muscular Dystrophy and uses a wheelchair. (He’s played by comedian Steve Way, who also has the disease.) They bond when Steve jokingly greets him as “Terrorist.” Ramy and Steve’s scenes throughout the series bristle with a fearless honesty that’s startling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Youssef’s boldness doesn’t falter in Season 3, with Ramy growing increasingly unlikable and his family appearing to be falling apart, with Farouk, Maysa and Dena each being swallowed up by confusion and feelings of failure. You wonder whether the series will wind up being a traditional comedy, in which order is restored to a chaotic world, or is turning into a slow-motion tragedy in which everything that felt solid when the series began implodes. It’s one measure of \u003cem>Ramy\u003c/em>‘s richness and complexity that, even in this new season’s finale, we still can’t be sure.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ramy%27+wades+into+murky+waters+in+Season+3%2C+but+the+comedy+is+clear+as+ever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ramy wants to be a good guy and spiritual Muslim; yet even as he refuses intoxicants and dutifully prays, he’s constantly watching porn and sleeping around. As he vows to change, his friends — devout Ahmed, acid-tongued Steve, and blustering Mo (who now has his own show on Netflix) — all think him a galloping narcissist. In fact, over the first two seasons, we come to realize that, as boyish and amusing as Ramy can be, he wreaks a lot of emotional damage on those around him.\u003c/p>\n\u003cp>Season 2 ended so perfectly — with a cruel betrayal and Ramy once again hoping to become moral — that I thought the series could’ve stopped right there. I wondered if there was anything more to get out of watching Ramy shuttle between Muslim aspirations and sexual shenanigans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youssef evidently sensed this, too. In the jampacked Season 3, Ramy turns his attention away from both God and sex, and — to the horror of his parents — gets into business with Israelis. Supermodel Bella Hadid joins the cast, and Youssef deals with tricky topics that American shows usually skirt, including abortion and Palestine. And he does it all in a show that’s funny.\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/mmEVInY_2yw'\n title='//www.youtube.com/embed/mmEVInY_2yw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Ramy \u003c/em>has been rightly lauded for its groundbreaking portrait of Muslim American life from the inside. Interested in everyone, Youssef devotes whole episodes to both of Ramy’s parents, who are disappointed in their hopes for a grander life in America; to his sister, who’s tormented by her family’s conservative values; and to his bullying Uncle Naseem (Laith Nakli), a coarse anti-Semite and misogynist who has sex with men but refuses to think he’s gay.\u003c/p>\n\u003cp>The show sets out to transcend clichés about Muslim American life and reveal its vast range — giving us devout doctors, porn stars, hardworking immigrants and charismatic Sufi leaders like the one majestically played in season 2 by \u003ca href=\"https://www.npr.org/2017/02/16/515587027/in-moonlight-actor-mahershala-ali-found-characters-he-recognized\" target=\"_blank\" rel=\"noopener noreferrer\">Mahershala Ali\u003c/a>. Season 3 takes us overseas to depict an Egypt far different to the one Westerners normally see, gets Ramy stuck at a checkpoint in Israel, and drops us into a gaudy Muslim expo in New Jersey where everyone from jewelers to media savvy imams are working to rake in the dough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Youssef keeps pushing into places nobody else has gone. His season 1 episode on Sept. 11 is the best thing I’ve seen on being a Muslim in America after the attacks. It’s in this episode that Ramy meets his truth-telling friend Steve, who has Muscular Dystrophy and uses a wheelchair. (He’s played by comedian Steve Way, who also has the disease.) They bond when Steve jokingly greets him as “Terrorist.” Ramy and Steve’s scenes throughout the series bristle with a fearless honesty that’s startling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Youssef’s boldness doesn’t falter in Season 3, with Ramy growing increasingly unlikable and his family appearing to be falling apart, with Farouk, Maysa and Dena each being swallowed up by confusion and feelings of failure. You wonder whether the series will wind up being a traditional comedy, in which order is restored to a chaotic world, or is turning into a slow-motion tragedy in which everything that felt solid when the series began implodes. It’s one measure of \u003cem>Ramy\u003c/em>‘s richness and complexity that, even in this new season’s finale, we still can’t be sure.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ramy%27+wades+into+murky+waters+in+Season+3%2C+but+the+comedy+is+clear+as+ever&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"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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"radiolab": {
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},
"rightnowish": {
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"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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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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