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"title": "‘Jeopardy! Tournament of Champions’ Has the Makings of Being the Greatest Yet",
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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>\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",
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"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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"title": "Trevor Noah's 'Daily Show' Departure Hints at Deeper Problems in Late Night TV",
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"content": "\u003cp>Looking back, this moment may have been inevitable.\u003c/p>\n\u003cp>Delivering the news almost as an aside while talking about his seventh anniversary as host of Comedy Central’s news parody program \u003cem>The Daily Show\u003c/em>, comic and author Trevor Noah surprised his audience by announcing Thursday he would soon leave the job.\u003c/p>\n\u003cp>“I realized there’s another part of my life that I want to … carry on exploring,” he said halfway through the show; Comedy Central had been working with him for a while to balance the show’s demanding production schedule. “I miss learning other languages. I miss going to other countries and putting on shows. I miss just being everywhere, doing everything.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IklbpAJX6oM&t=1s\u003c/p>\n\u003cp>Comedy Central issued a statement praising Noah and noting there is no definitive timetable for his departure, saying they are working together on next steps—lending the sense his announcement surprised them, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_15753']Despite hints about the show’s workload and his fondness for standup comedy, Noah also had increasingly looked like a performer whose promise and abilities were growing beyond the steady grind of a late-night show on Comedy Central.\u003c/p>\n\u003cp>And more than any departure from the genre announced so far—from \u003ca href=\"https://www.npr.org/2022/07/28/1113910604/samantha-bees-cancellation-hints-at-tough-times-for-women-and-poc-in-late-night-\" target=\"_blank\" rel=\"noopener noreferrer\">the firing of Samantha Bee\u003c/a> to the \u003ca href=\"https://www.npr.org/2022/07/19/1112316203/desus-and-mero-changed-late-night-tv-now-their-show-is-ending-after-4-seasons\" target=\"_blank\" rel=\"noopener noreferrer\">quitting of Desus and Mero\u003c/a> and impending \u003ca href=\"https://www.npr.org/2022/04/29/1095454723/james-corden-leaving-late-night-show\" target=\"_blank\" rel=\"noopener noreferrer\">exit of James Corden\u003c/a>—Noah’s goodbye could send the most dire signals yet about the future of late night TV.\u003c/p>\n\u003ch3>A standout performance\u003c/h3>\n\u003cp>I saw it most clearly sitting in the audience of the White House Correspondents’ Dinner in April, watching Noah deftly thread an impossible needle. He had to tell jokes sharp enough to resonate with his savvy audience of journalists and politicos, but not so cutting that they seemed nasty or ill-intentioned. And from my spot in the room, he scored tremendously, relying on a quick wit and ready charm to leaven even his sharpest jabs.\u003c/p>\n\u003cp>He managed to sound even-handed while chiding us American journalists to produce work worthy of the press freedoms we have. “Ask yourself this question: If Russian journalists who are losing their livelihoods and their freedom for daring to report on what their own government is doing—if they had the freedom to write any words, to show any stories, or to ask any questions, if they had basically what you have, would they be using it in the same way that you do?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_fpxCuorKjA&t=306s\u003c/p>\n\u003cp>It was a career-making performance, I thought. The only question: What kind of career is Noah building?\u003c/p>\n\u003cp>In the traditional showbiz world, one possible next step for Noah would be a network TV gig, offering a bigger paycheck, wider audience and greater exposure. And there’s a job coming open: Corden announced that sometime next year he’s leaving his perch hosting \u003cem>The Late Late Show \u003c/em>on CBS, a corporate cousin of Comedy Central.\u003c/p>\n\u003cp>[aside postid='pop_109651']But in an odd way, moving to that program might seem like a demotion for Noah. It’s later in the evening in a spot where he would always be No. 2 to the network’s primary late night host, Stephen Colbert. Since ABC’s host Jimmy Kimmel just re-upped for three more years and all the top dog late night hosts are relatively young, taking Corden’s gig might require Noah to wait an awfully long while for his shot at the big job.\u003c/p>\n\u003cp>That’s all bad news for late night TV, which really needs a host like Noah; a talented, biracial, South African comedian who filled some of the biggest shoes in the business when he took over \u003cem>The Daily Show \u003c/em>from \u003ca href=\"https://www.npr.org/2015/08/06/429851718/jon-stewart-on-his-daily-show-run-it-so-far-exceeded-my-expectations\" target=\"_blank\" rel=\"noopener noreferrer\">venerated host Jon Stewart.\u003c/a>\u003c/p>\n\u003cp>Slowly and with a consistent, relentless creativity, Noah and his team reshaped the program to feature a younger, more diverse and internationalist perspective, feeling more like the future of the medium than anything on the Big Three broadcast networks.\u003c/p>\n\u003ch3>Succeeding by following a TV legend\u003c/h3>\n\u003cp>Noah took over \u003cem>The Daily Show\u003c/em> in September 2015. Back then, he was a 31-year-old rising star who had appeared on the show a handful of times before his hiring was announced.\u003c/p>\n\u003cp>He survived \u003ca href=\"https://www.npr.org/2015/03/31/396636974/new-daily-show-host-faces-criticism-over-questionable-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">a scandal before he even appeared on camera\u003c/a> as host—centered on terrible jokes about Jewish people, women’s bodies and their weight that he had posted on Twitter years earlier. In his first episode as host, Noah joked about reports that better-known celebrities like Chris Rock had turned down the job by cracking “once more, a job Americans rejected, is now being done by an immigrant.”\u003c/p>\n\u003cp>One of my favorite early bits of his was a commentary comparing Donald Trump, then an outlandish candidate for president, to some of the more infamous African presidents, like Uganda’s Idi Amin and Zimbabwe’s Robert Mugabe—in some cases, showing how they use the exact same words to brag about themselves and put down rivals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mt9QtHHx-9M&t=20s\u003c/p>\n\u003cp>He even remixed the show’s theme song, \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/timbaland-new-version-daily-show-theme-song-6835199/\" target=\"_blank\" rel=\"noopener noreferrer\">debuting a new take\u003c/a> produced by Timbaland and King Logan in early 2016, amping up the rock flavor and adding a percolating, club-friendly beat.\u003c/p>\n\u003cp>Jon Stewart had turned \u003cem>The Daily Show\u003c/em> into a serious player by grounding the show’s humor in real news events, pointing out the radicalization of the Republican party, the hypocrisy of the Democratic party and the cluelessness of news media which too often failed to expose either.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Noah seemed to enjoy finding unexpected takes on issues, avoiding traditional U.S. partisanship while exploring deeply issues affecting people of color and expanding the show’s online footprint. The show incorporated his facility with accents and impressions; when he began recording the program from home during the pandemic lockdowns, they added jokes with graphic images superimposed on his face that have continued.\u003c/p>\n\u003cp>Even his discussions with the audience during commercial breaks were turned into \u003ca href=\"https://www.youtube.com/watch?v=Q5uhh5cmwlI\" target=\"_blank\" rel=\"noopener noreferrer\">an online feature\u003c/a> called “Between the Scenes.”\u003c/p>\n\u003cp>His profile was growing outside of the show as well. His 2016 memoir \u003cem>Born a Crime—\u003c/em>referencing how, as the child of a white father and black mother born in Apartheid-era South Africa, his parents’ relationship was illegal—became a New York Times bestseller. He hosted the Grammy awards, has continued standup comedy tours and appeared in films like \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now he’s ready for something new that doesn’t include regularly hosting \u003cem>The Daily Show\u003c/em>, stepping down as the most prominent non-white host in late night. If he doesn’t find another perch in the genre, the industry will be all the worse for it.\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=Trevor+Noah%27s+%27Daily+Show%27+departure+hints+at+deeper+problems+in+late+night+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back, this moment may have been inevitable.\u003c/p>\n\u003cp>Delivering the news almost as an aside while talking about his seventh anniversary as host of Comedy Central’s news parody program \u003cem>The Daily Show\u003c/em>, comic and author Trevor Noah surprised his audience by announcing Thursday he would soon leave the job.\u003c/p>\n\u003cp>“I realized there’s another part of my life that I want to … carry on exploring,” he said halfway through the show; Comedy Central had been working with him for a while to balance the show’s demanding production schedule. “I miss learning other languages. I miss going to other countries and putting on shows. I miss just being everywhere, doing everything.”\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/IklbpAJX6oM'\n title='//www.youtube.com/embed/IklbpAJX6oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Comedy Central issued a statement praising Noah and noting there is no definitive timetable for his departure, saying they are working together on next steps—lending the sense his announcement surprised them, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite hints about the show’s workload and his fondness for standup comedy, Noah also had increasingly looked like a performer whose promise and abilities were growing beyond the steady grind of a late-night show on Comedy Central.\u003c/p>\n\u003cp>And more than any departure from the genre announced so far—from \u003ca href=\"https://www.npr.org/2022/07/28/1113910604/samantha-bees-cancellation-hints-at-tough-times-for-women-and-poc-in-late-night-\" target=\"_blank\" rel=\"noopener noreferrer\">the firing of Samantha Bee\u003c/a> to the \u003ca href=\"https://www.npr.org/2022/07/19/1112316203/desus-and-mero-changed-late-night-tv-now-their-show-is-ending-after-4-seasons\" target=\"_blank\" rel=\"noopener noreferrer\">quitting of Desus and Mero\u003c/a> and impending \u003ca href=\"https://www.npr.org/2022/04/29/1095454723/james-corden-leaving-late-night-show\" target=\"_blank\" rel=\"noopener noreferrer\">exit of James Corden\u003c/a>—Noah’s goodbye could send the most dire signals yet about the future of late night TV.\u003c/p>\n\u003ch3>A standout performance\u003c/h3>\n\u003cp>I saw it most clearly sitting in the audience of the White House Correspondents’ Dinner in April, watching Noah deftly thread an impossible needle. He had to tell jokes sharp enough to resonate with his savvy audience of journalists and politicos, but not so cutting that they seemed nasty or ill-intentioned. And from my spot in the room, he scored tremendously, relying on a quick wit and ready charm to leaven even his sharpest jabs.\u003c/p>\n\u003cp>He managed to sound even-handed while chiding us American journalists to produce work worthy of the press freedoms we have. “Ask yourself this question: If Russian journalists who are losing their livelihoods and their freedom for daring to report on what their own government is doing—if they had the freedom to write any words, to show any stories, or to ask any questions, if they had basically what you have, would they be using it in the same way that you do?”\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/_fpxCuorKjA'\n title='//www.youtube.com/embed/_fpxCuorKjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was a career-making performance, I thought. The only question: What kind of career is Noah building?\u003c/p>\n\u003cp>In the traditional showbiz world, one possible next step for Noah would be a network TV gig, offering a bigger paycheck, wider audience and greater exposure. And there’s a job coming open: Corden announced that sometime next year he’s leaving his perch hosting \u003cem>The Late Late Show \u003c/em>on CBS, a corporate cousin of Comedy Central.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in an odd way, moving to that program might seem like a demotion for Noah. It’s later in the evening in a spot where he would always be No. 2 to the network’s primary late night host, Stephen Colbert. Since ABC’s host Jimmy Kimmel just re-upped for three more years and all the top dog late night hosts are relatively young, taking Corden’s gig might require Noah to wait an awfully long while for his shot at the big job.\u003c/p>\n\u003cp>That’s all bad news for late night TV, which really needs a host like Noah; a talented, biracial, South African comedian who filled some of the biggest shoes in the business when he took over \u003cem>The Daily Show \u003c/em>from \u003ca href=\"https://www.npr.org/2015/08/06/429851718/jon-stewart-on-his-daily-show-run-it-so-far-exceeded-my-expectations\" target=\"_blank\" rel=\"noopener noreferrer\">venerated host Jon Stewart.\u003c/a>\u003c/p>\n\u003cp>Slowly and with a consistent, relentless creativity, Noah and his team reshaped the program to feature a younger, more diverse and internationalist perspective, feeling more like the future of the medium than anything on the Big Three broadcast networks.\u003c/p>\n\u003ch3>Succeeding by following a TV legend\u003c/h3>\n\u003cp>Noah took over \u003cem>The Daily Show\u003c/em> in September 2015. Back then, he was a 31-year-old rising star who had appeared on the show a handful of times before his hiring was announced.\u003c/p>\n\u003cp>He survived \u003ca href=\"https://www.npr.org/2015/03/31/396636974/new-daily-show-host-faces-criticism-over-questionable-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">a scandal before he even appeared on camera\u003c/a> as host—centered on terrible jokes about Jewish people, women’s bodies and their weight that he had posted on Twitter years earlier. In his first episode as host, Noah joked about reports that better-known celebrities like Chris Rock had turned down the job by cracking “once more, a job Americans rejected, is now being done by an immigrant.”\u003c/p>\n\u003cp>One of my favorite early bits of his was a commentary comparing Donald Trump, then an outlandish candidate for president, to some of the more infamous African presidents, like Uganda’s Idi Amin and Zimbabwe’s Robert Mugabe—in some cases, showing how they use the exact same words to brag about themselves and put down rivals.\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/mt9QtHHx-9M'\n title='//www.youtube.com/embed/mt9QtHHx-9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He even remixed the show’s theme song, \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/timbaland-new-version-daily-show-theme-song-6835199/\" target=\"_blank\" rel=\"noopener noreferrer\">debuting a new take\u003c/a> produced by Timbaland and King Logan in early 2016, amping up the rock flavor and adding a percolating, club-friendly beat.\u003c/p>\n\u003cp>Jon Stewart had turned \u003cem>The Daily Show\u003c/em> into a serious player by grounding the show’s humor in real news events, pointing out the radicalization of the Republican party, the hypocrisy of the Democratic party and the cluelessness of news media which too often failed to expose either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Noah seemed to enjoy finding unexpected takes on issues, avoiding traditional U.S. partisanship while exploring deeply issues affecting people of color and expanding the show’s online footprint. The show incorporated his facility with accents and impressions; when he began recording the program from home during the pandemic lockdowns, they added jokes with graphic images superimposed on his face that have continued.\u003c/p>\n\u003cp>Even his discussions with the audience during commercial breaks were turned into \u003ca href=\"https://www.youtube.com/watch?v=Q5uhh5cmwlI\" target=\"_blank\" rel=\"noopener noreferrer\">an online feature\u003c/a> called “Between the Scenes.”\u003c/p>\n\u003cp>His profile was growing outside of the show as well. His 2016 memoir \u003cem>Born a Crime—\u003c/em>referencing how, as the child of a white father and black mother born in Apartheid-era South Africa, his parents’ relationship was illegal—became a New York Times bestseller. He hosted the Grammy awards, has continued standup comedy tours and appeared in films like \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now he’s ready for something new that doesn’t include regularly hosting \u003cem>The Daily Show\u003c/em>, stepping down as the most prominent non-white host in late night. If he doesn’t find another perch in the genre, the industry will be all the worse for it.\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=Trevor+Noah%27s+%27Daily+Show%27+departure+hints+at+deeper+problems+in+late+night+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Nothing Compares’: New Sinead O’Connor Documentary Leaves Half Her Story Untold",
"headTitle": "‘Nothing Compares’: New Sinead O’Connor Documentary Leaves Half Her Story Untold | KQED",
"content": "\u003cp>Nearly 10 months ago, Sinead O’Connor was thrust back into the spotlight for the worst possible reasons. Following the suicide of her 17-year-old son Shane, she tweeted, “There is no point living without him,” and that she had “decided to follow him.” Outside parties intervened and the singer ultimately did not harm herself—but the declaration was another in a string of public breakdowns and cries for help by O’Connor.\u003c/p>\n\u003cp>In 2015, O’Connor announced on Facebook that she had “taken an overdose.” In 2020, she postponed tour dates in order to get assistance with PTSD and substance abuse issues. “I grew up with a lot of trauma and abuse,” \u003ca href=\"https://people.com/music/sinead-oconnor-enters-rehab-trauma-addiction/\" target=\"_blank\" rel=\"noopener noreferrer\">she explained at the time\u003c/a>. “I then went straight into the music business and never learned really how to make a normal life.”\u003c/p>\n\u003cp>The world has subsequently been left with a plethora of questions about how O’Connor is doing; how she is coping; how she is healing. If you’re one of the fans who has wondered or worried about her over the last few years, the prospect of a new O’Connor documentary is probably an exciting one. Unfortunately, while \u003cem>Nothing Compares \u003c/em>is an entertaining reminder of what made O’Connor so great at the start of her career, the film barely touches on the last 30 years of her life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=djZFgiTgctY\u003c/p>\n\u003cp>\u003cem>Nothing Compares \u003c/em>does, thankfully, treat O’Connor with the understanding and reverence that she deserves. Early footage of the artist finding herself—her voice, her art—is thrilling. The pain of the childhood abuse she suffered at the hands of her mother remains palpable throughout. And the documentary is clear about the fact that, if O’Connor often resembled a wounded creature fighting for her life onstage, it’s because that’s exactly what she was.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers will leave \u003cem>Nothing Compares\u003c/em> thoroughly reminded of O’Connor’s unique talents, her inspiring determination and the inner strength that made her such a stubborn, inflexible public figure. For those of us who grew up watching the beautiful and enigmatic woman with the shaved head on MTV, \u003cem>Nothing Compares\u003c/em> is a wonderful trip down memory lane. For younger generations, it’s a fantastic introduction to her talents, her music and the permanent imprint she left on pop culture. (Commentary from the likes of Kathleen Hanna, Chuck D. and Peaches hammers that last point home.)\u003c/p>\n\u003cp>[aside postid='arts_13919689']If \u003cem>Nothing Compares \u003c/em>were part one of a two-part documentary, it would be damn near perfect. It’s a great retelling of her life up to the end of 1992. It’s also a decent examination of the injustice of O’Connor losing her career for (quite rightly) taking a stand against child abuse in the Catholic Church. But there is a dark irony inherent in cutting off O’Connor’s story here, at the very same point that American mainstream audiences did. That backlash, of course, arrived after she tore up a photo of the pope live on \u003cem>SNL—\u003c/em>something that prompted boos and hostility from even Bob Dylan audiences. (Footage here of Joe Pesci publicly threatening O’Connor with violence over the act has not aged well.)\u003c/p>\n\u003cp>Sinead O’Connor was just 25 at the time she was blacklisted by the entertainment industry. She’s 55 now, and has birthed three more children, seven more albums and a memoir (\u003cem>Rememberings\u003c/em>). That \u003cem>Nothing Compares\u003c/em> fails to touch on any of those things is confounding—especially after the film demonstrates that the cornerstone of O’Connor’s career has always been complete, unfiltered honesty, no matter the consequences; no matter what we might think of her.\u003c/p>\n\u003cp>The movie ends with a montage of the people and movements for whom O’Connor helped carve a path. Pussy Riot, Lady Gaga, the Women’s March and Emma Gonzalez from March For Our Lives are all present. Footage of Billie Eilish screaming “Shut the fuck up about our bodies!” on stage is particularly powerful in the context. And while that’s all valid, it is far too neat an ending for so complex a person’s story.\u003c/p>\n\u003cp>The one brief moment we do see O’Connor in the present day—also towards the end of the film—is notable for the information it doesn’t share. There is no mention of the fact that she is wearing a hijab now because she converted to Islam in 2018. The fact that she stopped even using the name Sinead O’Connor at that time also goes unmentioned. (Her name is Shuhada Sadaqat now.)\u003c/p>\n\u003cp>[aside postid='arts_13909111']O’Connor was interviewed for the film, and narrates at times by voiceover—the depth of her voice now will come as a surprise to some—and her quotes, smattered throughout the film, are some of the most enlightening here. In particular, what she says about the fallout from \u003cem>SNL\u003c/em> is astonishing. “I regret that I was so wounded already that that really killed and hurt me,” she says. “It was the proudest thing I’ve ever done as an artist. They broke my heart and they killed me—but I didn’t die.”\u003c/p>\n\u003cp>In the end, \u003cem>Nothing Compares\u003c/em> tells us the Sinead O’Connor story we already know. And though it’s well told, hearing what has happened during her decades out of the spotlight would have been more illuminating. Keeping this portion of her life in the dark feels like an extension of the disservice she was done 30 years ago.\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>‘Nothing Compares’ will be available on demand on Sept. 30, on Showtime. \u003ca href=\"https://www.sho.com/titles/3516714/nothing-compares\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 10 months ago, Sinead O’Connor was thrust back into the spotlight for the worst possible reasons. Following the suicide of her 17-year-old son Shane, she tweeted, “There is no point living without him,” and that she had “decided to follow him.” Outside parties intervened and the singer ultimately did not harm herself—but the declaration was another in a string of public breakdowns and cries for help by O’Connor.\u003c/p>\n\u003cp>In 2015, O’Connor announced on Facebook that she had “taken an overdose.” In 2020, she postponed tour dates in order to get assistance with PTSD and substance abuse issues. “I grew up with a lot of trauma and abuse,” \u003ca href=\"https://people.com/music/sinead-oconnor-enters-rehab-trauma-addiction/\" target=\"_blank\" rel=\"noopener noreferrer\">she explained at the time\u003c/a>. “I then went straight into the music business and never learned really how to make a normal life.”\u003c/p>\n\u003cp>The world has subsequently been left with a plethora of questions about how O’Connor is doing; how she is coping; how she is healing. If you’re one of the fans who has wondered or worried about her over the last few years, the prospect of a new O’Connor documentary is probably an exciting one. Unfortunately, while \u003cem>Nothing Compares \u003c/em>is an entertaining reminder of what made O’Connor so great at the start of her career, the film barely touches on the last 30 years of her life.\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/djZFgiTgctY'\n title='//www.youtube.com/embed/djZFgiTgctY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Nothing Compares \u003c/em>does, thankfully, treat O’Connor with the understanding and reverence that she deserves. Early footage of the artist finding herself—her voice, her art—is thrilling. The pain of the childhood abuse she suffered at the hands of her mother remains palpable throughout. And the documentary is clear about the fact that, if O’Connor often resembled a wounded creature fighting for her life onstage, it’s because that’s exactly what she was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viewers will leave \u003cem>Nothing Compares\u003c/em> thoroughly reminded of O’Connor’s unique talents, her inspiring determination and the inner strength that made her such a stubborn, inflexible public figure. For those of us who grew up watching the beautiful and enigmatic woman with the shaved head on MTV, \u003cem>Nothing Compares\u003c/em> is a wonderful trip down memory lane. For younger generations, it’s a fantastic introduction to her talents, her music and the permanent imprint she left on pop culture. (Commentary from the likes of Kathleen Hanna, Chuck D. and Peaches hammers that last point home.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003cem>Nothing Compares \u003c/em>were part one of a two-part documentary, it would be damn near perfect. It’s a great retelling of her life up to the end of 1992. It’s also a decent examination of the injustice of O’Connor losing her career for (quite rightly) taking a stand against child abuse in the Catholic Church. But there is a dark irony inherent in cutting off O’Connor’s story here, at the very same point that American mainstream audiences did. That backlash, of course, arrived after she tore up a photo of the pope live on \u003cem>SNL—\u003c/em>something that prompted boos and hostility from even Bob Dylan audiences. (Footage here of Joe Pesci publicly threatening O’Connor with violence over the act has not aged well.)\u003c/p>\n\u003cp>Sinead O’Connor was just 25 at the time she was blacklisted by the entertainment industry. She’s 55 now, and has birthed three more children, seven more albums and a memoir (\u003cem>Rememberings\u003c/em>). That \u003cem>Nothing Compares\u003c/em> fails to touch on any of those things is confounding—especially after the film demonstrates that the cornerstone of O’Connor’s career has always been complete, unfiltered honesty, no matter the consequences; no matter what we might think of her.\u003c/p>\n\u003cp>The movie ends with a montage of the people and movements for whom O’Connor helped carve a path. Pussy Riot, Lady Gaga, the Women’s March and Emma Gonzalez from March For Our Lives are all present. Footage of Billie Eilish screaming “Shut the fuck up about our bodies!” on stage is particularly powerful in the context. And while that’s all valid, it is far too neat an ending for so complex a person’s story.\u003c/p>\n\u003cp>The one brief moment we do see O’Connor in the present day—also towards the end of the film—is notable for the information it doesn’t share. There is no mention of the fact that she is wearing a hijab now because she converted to Islam in 2018. The fact that she stopped even using the name Sinead O’Connor at that time also goes unmentioned. (Her name is Shuhada Sadaqat now.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>O’Connor was interviewed for the film, and narrates at times by voiceover—the depth of her voice now will come as a surprise to some—and her quotes, smattered throughout the film, are some of the most enlightening here. In particular, what she says about the fallout from \u003cem>SNL\u003c/em> is astonishing. “I regret that I was so wounded already that that really killed and hurt me,” she says. “It was the proudest thing I’ve ever done as an artist. They broke my heart and they killed me—but I didn’t die.”\u003c/p>\n\u003cp>In the end, \u003cem>Nothing Compares\u003c/em> tells us the Sinead O’Connor story we already know. And though it’s well told, hearing what has happened during her decades out of the spotlight would have been more illuminating. Keeping this portion of her life in the dark feels like an extension of the disservice she was done 30 years ago.\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>‘Nothing Compares’ will be available on demand on Sept. 30, on Showtime. \u003ca href=\"https://www.sho.com/titles/3516714/nothing-compares\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Oct. 1, 2017, a lone gunman in a suite of rooms on the 32nd floor of a Las Vegas hotel \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/05/555864489/why-did-he-do-it-authorities-still-baffled-by-vegas-shooter\" target=\"_blank\" rel=\"noopener noreferrer\">opened fire \u003c/a>on the performers and audience at an outdoor country music festival below. Fifty eight people were killed and more than 800 others were wounded. In 2020 the death toll was raised to 60 to account for victims who later died from complications related to their injuries.\u003c/p>\n\u003cp>The new four-hour Paramount+ documentary, \u003cem>11 Minutes,\u003c/em> takes a unique approach to retelling the story of the largest mass shooting in U.S. history. There’s no host, no narrator and, for the first two hours, virtually no footage from TV news stations. Instead the story is told by interviews with survivors of the event—people who were there as musicians, fans, police, paramedics, nurses, doctors, and so on. And it’s told mostly through cellphone videos and police body cams—images taken by people in the midst of the attack, as it was happening. And \u003cem>a lot \u003c/em>of people had their phone cameras running.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZxvMunFjbxg\u003c/p>\n\u003cp>\u003cem>11 Minutes\u003c/em> tells its story chronologically, and patiently, introducing us to many of the people who, once the shooting begins, will become victims. Or helpers. Or both. But at first, we don’t know which. All we know is whatever we’re told by people like Brady Cook, a rookie officer for the Las Vegas Metropolitan Police Department; the twin high-school fans who attend the Route 91 Harvest Festival and the firefighter determined to save as many lives as he can.\u003c/p>\n\u003cp>Director Jeff Zimbalist, one of several executive producers on this documentary series, lets the participants speak for themselves. It takes most of the first hour of the program before on-location police radio reports begin identifying the Mandalay Bay hotel as the source of the gunfire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From there, the documentary only gets more tense, and more frantic—but not more graphic. Surprisingly, \u003cem>11 Minutes\u003c/em> is not gruesome—the visuals are selected and edited very judiciously. But you’re thrown into the action and the pandemonium anyway, as the circumstances, and the stories, get more emotional.\u003c/p>\n\u003cp>[aside postid='arts_13915217']Ultimately, \u003cem>11 Minutes\u003c/em> is a testament to bravery, and commitment, and empathy. Fred Rogers, when discussing times of tragedy, used to quote his mother, who said, “Always look for the helpers.” That’s just what this four-part documentary does, beautifully. And intentionally, it doesn’t name the shooter—although, in the final moments of the series, it names all the victims of every U.S. mass shooting since this one in Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Accompanying the scroll of names is a song by country artist \u003ca href=\"https://www.npr.org/artists/15397601/eric-church\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Church\u003c/a>, one of the headliners at that festival. He wrote and performed the song, which is titled “Why Not Me?,” in the days after the massacre—and it provides a poignant and very appropriate end to a very powerful documentary.\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=Las+Vegas+mass+shooting+survivors+tell+their+own+story+in+%2711+minutes%27+documentary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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