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"content": "\u003cp>Twitter exploded on Wednesday afternoon after Mayim Bialik (Blossom/Amy Farrah Fowler/real-life scientist) and Mike Richards (non-famous guy) were finally announced as the new, permanent hosts of \u003cem>Jeopardy!\u003c/em>. This might be the first time a cerebral 57-year-old gameshow has caused such an online firestorm, but the reasons for the controversy go far beyond the impossible task ABC had of filling Alex Trebek’s shoes.\u003c/p>\n\u003cp>[aside postid='arts_13889643']Since the universally beloved \u003cem>Jeopardy!\u003c/em> host died in November 2020, after 37 years of helming the show, a great number of temporary hosts have been cycled in and out to keep \u003cem>Jeopardy!\u003c/em> rolling. \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Jennings\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Jennings\u003c/a>, the current record holder for the longest winning streak on the show was the first, doing a six-week run. Then a hodgepodge of guest hosts followed. There were journalists like Katie Couric, Anderson Cooper and Dr. Sanjay Gupta; talk-show hosts including Dr. Oz, Savannah Guthrie and Robin Roberts. There were even a couple of sports types—quarterback Aaron Rodgers and Fox sportscaster Joe Buck both gave hosting a try.\u003c/p>\n\u003cp>But out of all of the temporary hosts, a clear fan favorite emerged: \u003cem>Reading Rainbow\u003c/em>’s LeVar Burton. Not only does Burton have a warm-but-authoritative tone that’s similar to Trebek’s, he was not \u003ca href=\"https://twitter.com/levarburton/status/316774267733815296\" target=\"_blank\" rel=\"noopener noreferrer\">at all quiet\u003c/a> about his desire to take over the position. When fans found out he didn’t get the job this week—even after over \u003ca href=\"https://www.change.org/p/sony-pictures-entertainment-levar-burton-should-be-the-next-host-of-jeopardy?use_react=false\" target=\"_blank\" rel=\"noopener noreferrer\">267,000 of them\u003c/a> signed a petition to make it so—many vented on Twitter.\u003c/p>\n\u003cp>https://twitter.com/812filmreviews/status/1425502971274698755\u003c/p>\n\u003cp>https://twitter.com/alex_abads/status/1425520632901603333\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/ava/status/1425505571432665092\u003c/p>\n\u003cp>To make matters worse, Mayim Bialik also received swift backlash as soon as it became clear that she would be hosting primetime \u003cem>Jeopardy!\u003c/em> episodes and new spinoffs. Critics focused in on rumors that the \u003cem>Big Bang Theory\u003c/em> star is both an anti-vaxxer and a shamer of other women.\u003c/p>\n\u003cp>https://twitter.com/hennypennykenny/status/1425513711100252161\u003c/p>\n\u003cp>In truth, Bialik has \u003ca href=\"https://www.youtube.com/watch?v=ov_Jw02uHGY\" target=\"_blank\" rel=\"noopener noreferrer\">received the COVID-19\u003c/a> vaccine, along with her children. She also released \u003ca href=\"https://www.youtube.com/watch?v=ov_Jw02uHGY\" target=\"_blank\" rel=\"noopener noreferrer\">a nine-minute video\u003c/a> last October clarifying her views on vaccines. “I wrote a book about 10 years ago about my experience parenting,” she notes in the clip. “And at the time, my children had not received the typical schedule of vaccines. But I have never—not once—said that vaccines are not valuable, not useful, or not necessary. Because they are.” She continues, “The truth is, I delayed vaccinations for reasons you don’t necessarily get to know about.”\u003c/p>\n\u003cp>https://twitter.com/summeranne/status/1425526199065976838\u003c/p>\n\u003cp>The perception of Bialik as a victim-blamer traces back to a \u003cem>New York Times\u003c/em> article she wrote in October 2017, titled “\u003ca href=\"https://www.nytimes.com/2017/10/13/opinion/mayim-bialik-feminist-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">Being a Feminist in Harvey Weinstein’s World\u003c/a>.” In it, she detailed the downsides of not being conventionally beautiful in the public eye and entertainment industry, but went on to say that it also made her less of a target for predatory men.\u003c/p>\n\u003cp>In the article, Bialik was careful to note that, “Nothing—absolutely nothing—excuses men for assaulting or abusing women,” but she also made some clear judgments about women who don’t dress as chastely as her. “I still make choices every day as a 41-year-old actress,” she wrote, “that I think of as self-protecting and wise. I have decided that my sexual self is best reserved for private situations … I dress modestly. I don’t act flirtatiously with men as a policy.”\u003c/p>\n\u003cp>[aside postid='arts_13883658']Even worse, Bialik implied that more conventionally beautiful actors must be living emptier, more reckless lives than her. “If you are beautiful and sexy, terrific. But having others celebrate your physical beauty is not the way to lead a meaningful life. And if—like me—you’re not a perfect 10, know that there are people out there who will find you stunning, irresistible and worthy of attention, respect and love. The best part is you don’t have to go to a hotel room or a casting couch to find them.”\u003c/p>\n\u003cp>The controversial things Bialik said back then weren’t the only reason she was the number one trending topic on Twitter on Wednesday afternoon. Sony Pictures Television’s decision to hire Richards—\u003cem>Jeopardy!\u003c/em>’s current executive producer—to host the daily syndicated show was interpreted by some as both gross nepotism and a flagrant example of sexism.\u003c/p>\n\u003cp>https://twitter.com/daniellynch/status/1425487786723917833\u003c/p>\n\u003cp>https://twitter.com/cmclymer/status/1425507158653906947\u003c/p>\n\u003cp>https://twitter.com/amandawallwin/status/1425498948798717959\u003c/p>\n\u003cp>Many social media users were quick to bring up the fact that Richards was named in a 2012 lawsuit by Brandi Cochran—a former model on \u003cem>The Price is Right\u003c/em>. During the case, Cochran detailed being harassed, sidelined and discriminated against on the gameshow for being pregnant. She \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/price-is-right-model-wins-393521/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically reported\u003c/a> that Richards, “didn’t talk to her as frequently” once her pregnancy was revealed, and that he also implied “that she would have been one of the models fired had the pregnancy not been secret.” Cochran was ultimately awarded almost $8 million in damages.\u003c/p>\n\u003cp>[aside postid='arts_13889018']The \u003cem>Jeopardy!\u003c/em> hosting job was always going to be a tricky position to fill because of the depth of loss viewers felt with Trebek’s departure. To a lot of observers, LeVar Burton looked like a much better fit, and a less controversial choice than either Richards or Bialik. (Though his \u003ca href=\"https://www.nexttv.com/news/jeopardy-guest-hosts-ratings-how-they-rank\" target=\"_blank\" rel=\"noopener noreferrer\">low ratings\u003c/a> while guest hosting the show have been observed as a factor in not giving him the job, little regard seems to have been given for the fact that he was competing with the Tokyo Olympics for viewers.)\u003c/p>\n\u003cp>In a statement that will in no way ease the concerns of the \u003cem>Jeopardy!\u003c/em> uprising online, Ravi Ahuja—chairman of global television studios and corporate development for Sony Pictures—insists that casting Richards and Bialik was by no means a casual decision. “A senior group of Sony Pictures Television executives pored over footage from every episode,” he said in a statement, “reviewed research from multiple panels and focus groups, and got valuable input from our key partners and \u003cem>Jeopardy! \u003c/em>viewers.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ahuja also noted, “We took this decision incredibly seriously. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter exploded on Wednesday afternoon after Mayim Bialik (Blossom/Amy Farrah Fowler/real-life scientist) and Mike Richards (non-famous guy) were finally announced as the new, permanent hosts of \u003cem>Jeopardy!\u003c/em>. This might be the first time a cerebral 57-year-old gameshow has caused such an online firestorm, but the reasons for the controversy go far beyond the impossible task ABC had of filling Alex Trebek’s shoes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since the universally beloved \u003cem>Jeopardy!\u003c/em> host died in November 2020, after 37 years of helming the show, a great number of temporary hosts have been cycled in and out to keep \u003cem>Jeopardy!\u003c/em> rolling. \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Jennings\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Jennings\u003c/a>, the current record holder for the longest winning streak on the show was the first, doing a six-week run. Then a hodgepodge of guest hosts followed. There were journalists like Katie Couric, Anderson Cooper and Dr. Sanjay Gupta; talk-show hosts including Dr. Oz, Savannah Guthrie and Robin Roberts. There were even a couple of sports types—quarterback Aaron Rodgers and Fox sportscaster Joe Buck both gave hosting a try.\u003c/p>\n\u003cp>But out of all of the temporary hosts, a clear fan favorite emerged: \u003cem>Reading Rainbow\u003c/em>’s LeVar Burton. Not only does Burton have a warm-but-authoritative tone that’s similar to Trebek’s, he was not \u003ca href=\"https://twitter.com/levarburton/status/316774267733815296\" target=\"_blank\" rel=\"noopener noreferrer\">at all quiet\u003c/a> about his desire to take over the position. When fans found out he didn’t get the job this week—even after over \u003ca href=\"https://www.change.org/p/sony-pictures-entertainment-levar-burton-should-be-the-next-host-of-jeopardy?use_react=false\" target=\"_blank\" rel=\"noopener noreferrer\">267,000 of them\u003c/a> signed a petition to make it so—many vented on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To make matters worse, Mayim Bialik also received swift backlash as soon as it became clear that she would be hosting primetime \u003cem>Jeopardy!\u003c/em> episodes and new spinoffs. Critics focused in on rumors that the \u003cem>Big Bang Theory\u003c/em> star is both an anti-vaxxer and a shamer of other women.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In truth, Bialik has \u003ca href=\"https://www.youtube.com/watch?v=ov_Jw02uHGY\" target=\"_blank\" rel=\"noopener noreferrer\">received the COVID-19\u003c/a> vaccine, along with her children. She also released \u003ca href=\"https://www.youtube.com/watch?v=ov_Jw02uHGY\" target=\"_blank\" rel=\"noopener noreferrer\">a nine-minute video\u003c/a> last October clarifying her views on vaccines. “I wrote a book about 10 years ago about my experience parenting,” she notes in the clip. “And at the time, my children had not received the typical schedule of vaccines. But I have never—not once—said that vaccines are not valuable, not useful, or not necessary. Because they are.” She continues, “The truth is, I delayed vaccinations for reasons you don’t necessarily get to know about.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The perception of Bialik as a victim-blamer traces back to a \u003cem>New York Times\u003c/em> article she wrote in October 2017, titled “\u003ca href=\"https://www.nytimes.com/2017/10/13/opinion/mayim-bialik-feminist-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">Being a Feminist in Harvey Weinstein’s World\u003c/a>.” In it, she detailed the downsides of not being conventionally beautiful in the public eye and entertainment industry, but went on to say that it also made her less of a target for predatory men.\u003c/p>\n\u003cp>In the article, Bialik was careful to note that, “Nothing—absolutely nothing—excuses men for assaulting or abusing women,” but she also made some clear judgments about women who don’t dress as chastely as her. “I still make choices every day as a 41-year-old actress,” she wrote, “that I think of as self-protecting and wise. I have decided that my sexual self is best reserved for private situations … I dress modestly. I don’t act flirtatiously with men as a policy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even worse, Bialik implied that more conventionally beautiful actors must be living emptier, more reckless lives than her. “If you are beautiful and sexy, terrific. But having others celebrate your physical beauty is not the way to lead a meaningful life. And if—like me—you’re not a perfect 10, know that there are people out there who will find you stunning, irresistible and worthy of attention, respect and love. The best part is you don’t have to go to a hotel room or a casting couch to find them.”\u003c/p>\n\u003cp>The controversial things Bialik said back then weren’t the only reason she was the number one trending topic on Twitter on Wednesday afternoon. Sony Pictures Television’s decision to hire Richards—\u003cem>Jeopardy!\u003c/em>’s current executive producer—to host the daily syndicated show was interpreted by some as both gross nepotism and a flagrant example of sexism.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Many social media users were quick to bring up the fact that Richards was named in a 2012 lawsuit by Brandi Cochran—a former model on \u003cem>The Price is Right\u003c/em>. During the case, Cochran detailed being harassed, sidelined and discriminated against on the gameshow for being pregnant. She \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/price-is-right-model-wins-393521/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically reported\u003c/a> that Richards, “didn’t talk to her as frequently” once her pregnancy was revealed, and that he also implied “that she would have been one of the models fired had the pregnancy not been secret.” Cochran was ultimately awarded almost $8 million in damages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Jeopardy!\u003c/em> hosting job was always going to be a tricky position to fill because of the depth of loss viewers felt with Trebek’s departure. To a lot of observers, LeVar Burton looked like a much better fit, and a less controversial choice than either Richards or Bialik. (Though his \u003ca href=\"https://www.nexttv.com/news/jeopardy-guest-hosts-ratings-how-they-rank\" target=\"_blank\" rel=\"noopener noreferrer\">low ratings\u003c/a> while guest hosting the show have been observed as a factor in not giving him the job, little regard seems to have been given for the fact that he was competing with the Tokyo Olympics for viewers.)\u003c/p>\n\u003cp>In a statement that will in no way ease the concerns of the \u003cem>Jeopardy!\u003c/em> uprising online, Ravi Ahuja—chairman of global television studios and corporate development for Sony Pictures—insists that casting Richards and Bialik was by no means a casual decision. “A senior group of Sony Pictures Television executives pored over footage from every episode,” he said in a statement, “reviewed research from multiple panels and focus groups, and got valuable input from our key partners and \u003cem>Jeopardy! \u003c/em>viewers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ahuja also noted, “We took this decision incredibly seriously. A tremendous amount of work and deliberation has gone into it, perhaps more than has ever gone into the selection of hosts for a show—deservedly so because it’s \u003cem>Jeopardy!\u003c/em> and we are following the incomparable Alex Trebek.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
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"content": "\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>[aside postid='arts_13896604']Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9D0uUKJ5KI\u003c/p>\n\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>[aside postid='arts_13891309']It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NBC Touts a Silver Lining in Historically Low Viewership for the Tokyo Olympics",
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"content": "\u003cp>Like so many things connected to this year’s often-troubled Tokyo Olympics, NBCUniversal’s final viewership figures for its TV and streaming coverage have a definite good news/bad news quality.\u003c/p>\n\u003cp>The good news trumpeted by NBC: 17 nights of prime time coverage on the broadcast network ranked just behind \u003cem>Sunday Night Football\u003c/em> as the second-most-watched show of the 2020-21 TV season. Viewers streamed a record 5.5 billion minutes of events across social media and online platforms such as NBCOlympics.com, the NBC Sports app and the streaming service Peacock. Those figures make the Tokyo Games the most-streamed Olympics ever, giving Peacock its best two weeks of use since it debuted in April 2020.\u003c/p>\n\u003cp>[aside postid='arts_13900276']But there’s also bad news. The average prime time viewership each night across all of its platforms—online, cable and network—was just 15.5 million people, down from an average 26.7 million viewers for the Rio Games in 2016. That’s a 42% plunge. Similarly, just 150 million Americans watched the Games, compared with 198 million \u003ca href=\"https://www.npr.org/sections/thetorch/2016/08/23/491024790/nbc-declares-rio-a-media-success-though-tv-ratings-were-down\" target=\"_blank\" rel=\"noopener noreferrer\">who saw the events in Rio\u003c/a>. It was the lowest average primetime viewership for the Games on NBC, which began broadcasting the Summer Olympics in 1988.\u003c/p>\n\u003cp>Figures show the uptick in viewing online doesn’t match the loss in audience on more traditional outlets such as cable TV and the broadcast network, though it does mirror the overall ratings drop for broadcast and cable TV in general over the past five years.\u003c/p>\n\u003cp>Still, NBC insists in its press materials that the Tokyo Olympics represent the largest media event in history. That’s largely due to the amount of material NBCUniversal presented across its assorted platforms—a record 7,000 hours of coverage across the broadcast network, cable channels like USA and Telemundo Deportes, and online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No single property has a greater positive effect on our company,” says Mark Lazarus, chairman of NBCUniversal television and streaming, in a statement. “Our Olympic presentation has provided unmatched promotion.”\u003c/p>\n\u003ch3>Historic amount of coverage leads to confusion\u003c/h3>\n\u003cp>But \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-08-06/tokyo-olympics-2021-nbc-peacock-how-to-fix\" target=\"_blank\" rel=\"noopener noreferrer\">critics complained\u003c/a> that the company didn’t do a great job helping viewers sort through the sometimes-overwhelming amount of coverage, especially regarding live events. The streaming service Peacock, in particular, took a lot of barbs for a confusing design and coverage of men’s basketball that was placed behind a paywall.\u003c/p>\n\u003cp>And one of the most attention-getting elements of NBC’s coverage—an irreverent, \u003ca href=\"https://www.youtube.com/watch?v=NDqDMLtF10U\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes-profane stream of commentary\u003c/a> on Olympics highlights offered by comic Kevin Hart and rapper Snoop Dogg—was also based on Peacock, where the wider audience likely didn’t see it. (Be warned: The YouTube clip below does not bleep the salty language.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uK5AIJQ2tlA\u003c/p>\n\u003cp>NBC was already facing an uphill battle, negotiating a 13-hour time difference that ensured many sports fans would already know the outcome of key contests before they were shown in prime time on the network. Several competitors NBC had hyped for months leading into the Games, from tennis star Naomi Osaka to gymnastics legend Simone Biles and the U.S. women’s soccer team, struggled in competition.\u003c/p>\n\u003cp>And there was the biggest challenge: presenting the Games during a pandemic. Besides the decision to ban most spectators and some athletes dropping out after positive coronavirus tests, the world’s ongoing struggles with COVID-19 dampened an event that could have been a triumphant showcase of the globe’s emergence from lockdown.\u003c/p>\n\u003cp>[aside postid='pop_112542']Instead, the Olympics too often felt burdened by the long shadow of the coronavirus threat, from finding camera angles that didn’t emphasize the rows of empty stands to providing footage of family and friends celebrating star athletes’ accomplishments from their stateside hometowns instead of in Tokyo.\u003c/p>\n\u003cp>NBC says its coverage of the Games boosted everything from podcasts to broadcast programs such as the \u003cem>Today \u003c/em>show and \u003cem>NBC Nightly News\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the days when the Olympics were appointment television for most TV viewers seem to be ending. The pressing question for NBC—which has spent billions for rights to air the Games until at least 2032—is how to handle a media world where the hours of coverage are increasing while audience numbers are heading in the opposite direction.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Touts+A+Silver+Lining+In+Historically+Low+Viewership+For+The+Tokyo+Olympics+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like so many things connected to this year’s often-troubled Tokyo Olympics, NBCUniversal’s final viewership figures for its TV and streaming coverage have a definite good news/bad news quality.\u003c/p>\n\u003cp>The good news trumpeted by NBC: 17 nights of prime time coverage on the broadcast network ranked just behind \u003cem>Sunday Night Football\u003c/em> as the second-most-watched show of the 2020-21 TV season. Viewers streamed a record 5.5 billion minutes of events across social media and online platforms such as NBCOlympics.com, the NBC Sports app and the streaming service Peacock. Those figures make the Tokyo Games the most-streamed Olympics ever, giving Peacock its best two weeks of use since it debuted in April 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s also bad news. The average prime time viewership each night across all of its platforms—online, cable and network—was just 15.5 million people, down from an average 26.7 million viewers for the Rio Games in 2016. That’s a 42% plunge. Similarly, just 150 million Americans watched the Games, compared with 198 million \u003ca href=\"https://www.npr.org/sections/thetorch/2016/08/23/491024790/nbc-declares-rio-a-media-success-though-tv-ratings-were-down\" target=\"_blank\" rel=\"noopener noreferrer\">who saw the events in Rio\u003c/a>. It was the lowest average primetime viewership for the Games on NBC, which began broadcasting the Summer Olympics in 1988.\u003c/p>\n\u003cp>Figures show the uptick in viewing online doesn’t match the loss in audience on more traditional outlets such as cable TV and the broadcast network, though it does mirror the overall ratings drop for broadcast and cable TV in general over the past five years.\u003c/p>\n\u003cp>Still, NBC insists in its press materials that the Tokyo Olympics represent the largest media event in history. That’s largely due to the amount of material NBCUniversal presented across its assorted platforms—a record 7,000 hours of coverage across the broadcast network, cable channels like USA and Telemundo Deportes, and online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No single property has a greater positive effect on our company,” says Mark Lazarus, chairman of NBCUniversal television and streaming, in a statement. “Our Olympic presentation has provided unmatched promotion.”\u003c/p>\n\u003ch3>Historic amount of coverage leads to confusion\u003c/h3>\n\u003cp>But \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-08-06/tokyo-olympics-2021-nbc-peacock-how-to-fix\" target=\"_blank\" rel=\"noopener noreferrer\">critics complained\u003c/a> that the company didn’t do a great job helping viewers sort through the sometimes-overwhelming amount of coverage, especially regarding live events. The streaming service Peacock, in particular, took a lot of barbs for a confusing design and coverage of men’s basketball that was placed behind a paywall.\u003c/p>\n\u003cp>And one of the most attention-getting elements of NBC’s coverage—an irreverent, \u003ca href=\"https://www.youtube.com/watch?v=NDqDMLtF10U\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes-profane stream of commentary\u003c/a> on Olympics highlights offered by comic Kevin Hart and rapper Snoop Dogg—was also based on Peacock, where the wider audience likely didn’t see it. (Be warned: The YouTube clip below does not bleep the salty language.)\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/uK5AIJQ2tlA'\n title='//www.youtube.com/embed/uK5AIJQ2tlA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NBC was already facing an uphill battle, negotiating a 13-hour time difference that ensured many sports fans would already know the outcome of key contests before they were shown in prime time on the network. Several competitors NBC had hyped for months leading into the Games, from tennis star Naomi Osaka to gymnastics legend Simone Biles and the U.S. women’s soccer team, struggled in competition.\u003c/p>\n\u003cp>And there was the biggest challenge: presenting the Games during a pandemic. Besides the decision to ban most spectators and some athletes dropping out after positive coronavirus tests, the world’s ongoing struggles with COVID-19 dampened an event that could have been a triumphant showcase of the globe’s emergence from lockdown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, the Olympics too often felt burdened by the long shadow of the coronavirus threat, from finding camera angles that didn’t emphasize the rows of empty stands to providing footage of family and friends celebrating star athletes’ accomplishments from their stateside hometowns instead of in Tokyo.\u003c/p>\n\u003cp>NBC says its coverage of the Games boosted everything from podcasts to broadcast programs such as the \u003cem>Today \u003c/em>show and \u003cem>NBC Nightly News\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the days when the Olympics were appointment television for most TV viewers seem to be ending. The pressing question for NBC—which has spent billions for rights to air the Games until at least 2032—is how to handle a media world where the hours of coverage are increasing while audience numbers are heading in the opposite direction.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Touts+A+Silver+Lining+In+Historically+Low+Viewership+For+The+Tokyo+Olympics+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A TV Guide For Your Weekend Watching",
"headTitle": "What’s Making Us Happy: A TV Guide For Your Weekend Watching | KQED",
"content": "\u003cp>The second week of the Olympics had us \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/05/1024994162/equestrian-dressage-composer-music-dancing-charlotte-dujardin\" target=\"_blank\" rel=\"noopener noreferrer\">watching horses\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/03/1024169459/greece-olympic-synchronized-swimming-team-out-positive-covid-tests\" target=\"_blank\" rel=\"noopener noreferrer\">swimmers\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/04/1024774505/olympic-runners-are-fast-on-tokyos-fast-track-theyre-shattering-world-records\" target=\"_blank\" rel=\"noopener noreferrer\">runners,\u003c/a> and we wouldn’t trade them for anything. But as we head into \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the final weekend of all that,\u003c/a> we’ve got plenty of other entertainment on tap for the first weekend of August.\u003c/p>\n\u003ch3>What to watch\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Making The Cut,\u003c/strong>\u003c/em> \u003ca href=\"https://www.amazon.com/gp/video/detail/B096MZ26GY/ref=atv_dp_season_select_s2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Amazon Prime\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wHmdfVjAYnQ\u003c/p>\n\u003cp>This is \u003cem>Project Runway\u003c/em> without the stuff you fast forward through. This is much more a show about design than simply assembly. The designers, most of whom already have their own clothing lines, get teams of seamstresses to do the actual assembling. But the designers never get to meet their teams and have to leave incredibly detailed instructions on how to finish their garments overnight. When they come back into the workroom the next day, they see how well they’ve communicated their intent. It’s a very clever way of showcasing the designers’ management skills or lack of the same. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>RuPaul’s Drag Race All Stars, \u003c/strong>\u003c/em>\u003ca href=\"https://www.paramountplus.com/shows/rupauls-drag-race-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Paramount+\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5SbGFdhVwZo\u003c/p>\n\u003cp>\u003cem>All Stars\u003c/em> is always fun because people are coming back with a knowledge of having been a part of it and having grown. When the cast for season six of \u003cem>All Stars\u003c/em> was announced, there were a lot of mixed reactions. Half the cast is true fan favorites and the other half are former contestants that people were less aware off. But after some really rough seasons from the franchise, it’s really good to have the show kind of find a good footing again. There hasn’t been a clear frontrunner this season, which has been fun. I’m enjoying it instead of being frustrated by it.\u003cem> — \u003c/em>\u003ca href=\"https://twitter.com/RunDMR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daisy Rosario\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Twilight Saga,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/70206632\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cR9_rDSxxFg\u003c/p>\n\u003cp>I want to talk about \u003cem>Twilight Breaking Dawn: Part 2\u003c/em>. I’m not necessarily interested in \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Bella and Edward,\u003c/a> but the rest of the world, I’m really interested in. Watching this movie, I realized the one thing I love about the \u003cem>Twilight\u003c/em> movies is the werewolves. I love the werewolves. I don’t think there’s enough of them. I think they could be a franchise on their own. In \u003cem>Breaking Dawn: Part 2,\u003c/em> they started building out the world of all these other vampires in Egypt, Japan and other parts of the globe. Sitting there, I was just like, “Man, this would make a great series.” I wish somebody would come back and make a gritty reboot of just the werewolves, just the world-building of \u003cem>Twilight\u003c/em>. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/OhitsBIGRON\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ronald Young Jr.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reservation Dogs,\u003c/strong>\u003c/em> \u003ca href=\"https://www.hulu.com/series/reservation-dogs-5a310c23-e2db-4c9f-a66c-27c2fee43d92\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hulu on FX\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RoHewFAkrWU\u003c/p>\n\u003cp>Starting Monday, you’ll be able to check out the new comedy series \u003ca href=\"https://www.fxnetworks.com/shows/reservation-dogs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Reservation Dogs \u003c/em>\u003c/strong>on Hulu\u003c/a> in the FX section. It’s a terrific show about a group of \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous kids in Oklahoma,\u003c/a> and I think you’ll be utterly charmed by its laid-back, super-chill vibe. We’ll also be talking about it on \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast\u003c/a> soon. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Untold,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/81026439\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3IgmCgeMNo\u003c/p>\n\u003cp>Starting on Tuesday, Netflix will be releasing installments of the sports documentary series \u003cstrong>\u003cem>Untold\u003c/em>\u003c/strong>, the first of which is called \u003ca href=\"https://www.si.com/extra-mustard/2021/08/04/netflix-trailer-malice-at-the-palace\" target=\"_blank\" rel=\"noopener noreferrer\">“Malice at the Palace”\u003c/a> and retells the tale of the 2004 NBA brawl in Detroit when Pacers player Metta World Peace, then known as Ron Artest, went into the stands and brawled with a spectator after being pelted with garbage by a Pistons “fan.” It’s less that this documentary uncovers massive new facts than it tries to contextualize that night and the consequences that came to the players—and the lack of consequences that came to pass for most of the fans. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>What to listen to\u003c/h3>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Household Faces\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The fine comic actor John Ross Bowie has a new podcast coming out on August 10 called \u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Household Faces\u003c/em>\u003c/strong>\u003c/a>, in which he interviews character actors (of which he is one). I haven’t heard it yet, but I’ve already subscribed. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Gene and Roger, \u003c/strong>\u003ca href=\"https://www.theringer.com/gene-and-roger-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Ringer\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>This is an eight-part podcast looking at how \u003ca href=\"https://www.nytimes.com/1999/02/21/nyregion/gene-siskel-half-of-a-famed-movie-review-team-dies-at-53.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gene Siskel\u003c/a> and \u003ca href=\"https://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Ebert\u003c/a> really transformed and popularized film criticism. There’s lots of investigation into their relationship. It’s the product of \u003ca href=\"https://www.brianraftery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Raftery,\u003c/a> the same guy who wrote the book \u003ca href=\"https://www.simonandschuster.com/books/Best-Movie-Year-Ever/Brian-Raftery/9781501175404\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Best. Movie. Year. Ever.,\u003c/em>\u003c/a> about the films of 1999.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the podcast, Raftery looks at the ways studios changed their marketing and how thumbs up, thumbs down became this kind of nationally recognized bellwether of a film’s commercial prospects. Whether or not you are old enough to remember seeing Siskel and Ebert on television, this is a fascinating series. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/ctklimek\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chris Klimek\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second week of the Olympics had us \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/05/1024994162/equestrian-dressage-composer-music-dancing-charlotte-dujardin\" target=\"_blank\" rel=\"noopener noreferrer\">watching horses\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/03/1024169459/greece-olympic-synchronized-swimming-team-out-positive-covid-tests\" target=\"_blank\" rel=\"noopener noreferrer\">swimmers\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/04/1024774505/olympic-runners-are-fast-on-tokyos-fast-track-theyre-shattering-world-records\" target=\"_blank\" rel=\"noopener noreferrer\">runners,\u003c/a> and we wouldn’t trade them for anything. But as we head into \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the final weekend of all that,\u003c/a> we’ve got plenty of other entertainment on tap for the first weekend of August.\u003c/p>\n\u003ch3>What to watch\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Making The Cut,\u003c/strong>\u003c/em> \u003ca href=\"https://www.amazon.com/gp/video/detail/B096MZ26GY/ref=atv_dp_season_select_s2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Amazon Prime\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wHmdfVjAYnQ'\n title='//www.youtube.com/embed/wHmdfVjAYnQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is \u003cem>Project Runway\u003c/em> without the stuff you fast forward through. This is much more a show about design than simply assembly. The designers, most of whom already have their own clothing lines, get teams of seamstresses to do the actual assembling. But the designers never get to meet their teams and have to leave incredibly detailed instructions on how to finish their garments overnight. When they come back into the workroom the next day, they see how well they’ve communicated their intent. It’s a very clever way of showcasing the designers’ management skills or lack of the same. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>RuPaul’s Drag Race All Stars, \u003c/strong>\u003c/em>\u003ca href=\"https://www.paramountplus.com/shows/rupauls-drag-race-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Paramount+\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5SbGFdhVwZo'\n title='//www.youtube.com/embed/5SbGFdhVwZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>All Stars\u003c/em> is always fun because people are coming back with a knowledge of having been a part of it and having grown. When the cast for season six of \u003cem>All Stars\u003c/em> was announced, there were a lot of mixed reactions. Half the cast is true fan favorites and the other half are former contestants that people were less aware off. But after some really rough seasons from the franchise, it’s really good to have the show kind of find a good footing again. There hasn’t been a clear frontrunner this season, which has been fun. I’m enjoying it instead of being frustrated by it.\u003cem> — \u003c/em>\u003ca href=\"https://twitter.com/RunDMR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daisy Rosario\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Twilight Saga,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/70206632\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cR9_rDSxxFg'\n title='//www.youtube.com/embed/cR9_rDSxxFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I want to talk about \u003cem>Twilight Breaking Dawn: Part 2\u003c/em>. I’m not necessarily interested in \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Bella and Edward,\u003c/a> but the rest of the world, I’m really interested in. Watching this movie, I realized the one thing I love about the \u003cem>Twilight\u003c/em> movies is the werewolves. I love the werewolves. I don’t think there’s enough of them. I think they could be a franchise on their own. In \u003cem>Breaking Dawn: Part 2,\u003c/em> they started building out the world of all these other vampires in Egypt, Japan and other parts of the globe. Sitting there, I was just like, “Man, this would make a great series.” I wish somebody would come back and make a gritty reboot of just the werewolves, just the world-building of \u003cem>Twilight\u003c/em>. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/OhitsBIGRON\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ronald Young Jr.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reservation Dogs,\u003c/strong>\u003c/em> \u003ca href=\"https://www.hulu.com/series/reservation-dogs-5a310c23-e2db-4c9f-a66c-27c2fee43d92\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hulu on FX\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RoHewFAkrWU'\n title='//www.youtube.com/embed/RoHewFAkrWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting Monday, you’ll be able to check out the new comedy series \u003ca href=\"https://www.fxnetworks.com/shows/reservation-dogs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Reservation Dogs \u003c/em>\u003c/strong>on Hulu\u003c/a> in the FX section. It’s a terrific show about a group of \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous kids in Oklahoma,\u003c/a> and I think you’ll be utterly charmed by its laid-back, super-chill vibe. We’ll also be talking about it on \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast\u003c/a> soon. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Untold,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/81026439\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j3IgmCgeMNo'\n title='//www.youtube.com/embed/j3IgmCgeMNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting on Tuesday, Netflix will be releasing installments of the sports documentary series \u003cstrong>\u003cem>Untold\u003c/em>\u003c/strong>, the first of which is called \u003ca href=\"https://www.si.com/extra-mustard/2021/08/04/netflix-trailer-malice-at-the-palace\" target=\"_blank\" rel=\"noopener noreferrer\">“Malice at the Palace”\u003c/a> and retells the tale of the 2004 NBA brawl in Detroit when Pacers player Metta World Peace, then known as Ron Artest, went into the stands and brawled with a spectator after being pelted with garbage by a Pistons “fan.” It’s less that this documentary uncovers massive new facts than it tries to contextualize that night and the consequences that came to the players—and the lack of consequences that came to pass for most of the fans. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>What to listen to\u003c/h3>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Household Faces\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The fine comic actor John Ross Bowie has a new podcast coming out on August 10 called \u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Household Faces\u003c/em>\u003c/strong>\u003c/a>, in which he interviews character actors (of which he is one). I haven’t heard it yet, but I’ve already subscribed. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Gene and Roger, \u003c/strong>\u003ca href=\"https://www.theringer.com/gene-and-roger-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Ringer\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>This is an eight-part podcast looking at how \u003ca href=\"https://www.nytimes.com/1999/02/21/nyregion/gene-siskel-half-of-a-famed-movie-review-team-dies-at-53.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gene Siskel\u003c/a> and \u003ca href=\"https://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Ebert\u003c/a> really transformed and popularized film criticism. There’s lots of investigation into their relationship. It’s the product of \u003ca href=\"https://www.brianraftery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Raftery,\u003c/a> the same guy who wrote the book \u003ca href=\"https://www.simonandschuster.com/books/Best-Movie-Year-Ever/Brian-Raftery/9781501175404\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Best. Movie. Year. Ever.,\u003c/em>\u003c/a> about the films of 1999.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the podcast, Raftery looks at the ways studios changed their marketing and how thumbs up, thumbs down became this kind of nationally recognized bellwether of a film’s commercial prospects. Whether or not you are old enough to remember seeing Siskel and Ebert on television, this is a fascinating series. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/ctklimek\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chris Klimek\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "MTV is Turning 40—Here's How Beavis, Butt-Head and Daria Disrupted Cable",
"headTitle": "MTV is Turning 40—Here’s How Beavis, Butt-Head and Daria Disrupted Cable | KQED",
"content": "\u003cdiv class=\"storyMajorUpdateDate\">\u003cstrong>Updated July 30, 2021 at 8:42 AM ET\u003c/strong>\u003c/div>\n\u003cp>From the moment MTV launched on Aug. 1, 1981, it was bound to rattle the nerves of parents and moral crusaders. In its first decade on air, provocative videos and performances from pop stars including Madonna and George Michael invited attention and ignited controversy.\u003c/p>\n\u003cp>Though it’s fairly established by now that the cable channel-turned-entertainment brand stopped being the home of music videos some time ago, its contribution to the television landscape transcends music and reality TV. By the 1990s, the network’s biggest stars also included its resident pair of animated knuckleheads: Beavis and Butt-Head.\u003c/p>\n\u003ch3>Critic-proof, crudely drawn rebels go pop\u003c/h3>\n\u003cp>[aside postid='arts_13885553']The show about brain dead teens and their pubescent whims debuted on MTV in 1993 and was quick to catch flack for everything from its rougher animation style to the impulsive actions of its stars. Critics called the duo \u003ca href=\"https://www.youtube.com/watch?v=7vhPukfBAwQ\" target=\"_blank\" rel=\"noopener noreferrer\">“crude,” “ugly” and “self-destructive.”\u003c/a>\u003c/p>\n\u003cp>Kris Brown became the head writer of \u003cem>Beavis and Butt-Head \u003c/em>in 1994. He says when he was assigned his first episode, he described the show to his own father as being “about these two 13-year-olds that are really stupid and they’re just self-destructive. They’re really into heavy metal, and I mean I don’t think it’s for you really, but I’m really excited about it.” His dad paused and, as Brown recalls, said, “Well, do you plan on writing for anything else?”\u003c/p>\n\u003cp>But the show was critic-proof. \u003cem>Beavis and Butt-Head \u003c/em>became MTV’s highest rated show at one time and expanded into a 1996 feature film—\u003cem>Beavis and Butt-Head Do America\u003c/em>. The movie got two thumbs up from critics Gene Siskel and Roger Ebert and featured multiple cameos, including one from super-fan David Letterman as a roadie who most certainly sired Butt-Head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jRnVQ4NBXko\u003c/p>\n\u003ch3>A hub for experimentation and innovation\u003c/h3>\n\u003cp>\u003cem>Beavis and Butt-Head \u003c/em>may have been a cartoon, but it was also central to MTV’s identity. Animation, it turns out, was baked into the network’s foundation, says Fred Seibert, who helped develop MTV’s initial branding campaigns.\u003c/p>\n\u003cp>“We kind of realized that in many ways cartoons, like \u003cem>Looney Tunes\u003c/em>, were kind of like the kid equivalent of rock ‘n’ roll,” Seibert explains.\u003c/p>\n\u003cp>For animators who wanted to work outside of TV conventions at the time, MTV became a destination and a laboratory. According to Maureen Furniss, who is an animation historian at the California Institute of the Arts, “[MTV] showed people in the public things they had never seen before in animation and gave opportunities to a lot of independent animators and experimental animators.”\u003c/p>\n\u003cp>One of the most important of those experiments were shorts that served as the station’s promotional IDs: the “M” of the MTV logo morphing into various forms, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PrUfMqRlYpk\u003c/p>\n\u003cp>The freedom given to the creators of these promos by MTV’s marketing teams helped serve as a prototype for how the network approached its longer animated shows, says Abby Terkuhle. He became head of the network’s on-air promotions—and eventually oversaw MTV animation.\u003c/p>\n\u003cp>“MTV animation was truly an outgrowth and extension of MTV on-air promotion and MTV on-air promotion was incredible. It was a creative laboratory, ” Terkuhle says. “We were not only allowed to take risks, but encouraged to take risks and the executives had our back.”\u003c/p>\n\u003cfigure id=\"attachment_13900491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg\" alt=\"'Beavis and Butt-Head' creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, 'Beavis and Butt-Head Do America.' From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beavis and Butt-Head’ creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, ‘Beavis and Butt-Head Do America.’ From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation. \u003ccite>(Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That ethos of a creative laboratory that took risks drew show creators to pitch and push for ideas that wouldn’t end up elsewhere on television.\u003c/p>\n\u003cp>MTV’s first full animated program \u003cem>Liquid Television\u003c/em> premiered in 1991 and was a free-flowing showcase of all kinds of animation. It included the cable debut of \u003cem>Beavis and Butt-Head \u003c/em>in the short “\u003ca href=\"https://www.youtube.com/watch?v=m0HpG7Nx7fA\" target=\"_blank\" rel=\"noopener noreferrer\">Frog Baseball\u003c/a>“—an animation festival favorite at the time—as well as parodies of existing TV genres such as game shows and soap operas.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ir2qcPwZFdQ\u003c/p>\n\u003cp>\u003cem>Liquid Television\u003c/em> also included bold experiments in narrative storytelling—and introduced the visually sumptuous world of \u003cem>Aeon Flux\u003c/em>—a spy who has since become a cult icon.\u003c/p>\n\u003cp>Peter Chung, who developed \u003cem>Aeon Flux \u003c/em>for MTV, says, “It had to be something you could not see anywhere else. And so that really encouraged me to make something that was as loaded with as much innuendo, making it a point to make it as transgressive and as eye-catching as I could make it.”\u003c/p>\n\u003ch3>Self-aware ’90s teen angst and claymation wars\u003c/h3>\n\u003cp>From the the mid-1990s to the early 2000s, MTV also ran its own animation studio which produced multiple series—including a \u003cem>Beavis and Butt-Head\u003c/em> spinoff that gave audiences another iconic character.\u003c/p>\n\u003cp>\u003cem>Daria\u003c/em> premiered in 1997 and was a show unafraid to bite the hand that feeds it. Its incisive main character regularly went after the superficialities and commodification of teen life—a tendency MTV itself has long been accused of. But the show could also offer poignant coming-of-age moments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L0WBODNzyCg\u003c/p>\n\u003cp>“We kind of just went with the typical stories that every show about teenagers covers, but because it was from the eyes of Daria, it ended up with a completely different tone, which was funny and deadpan kind of humor,” says \u003cem>Daria\u003c/em> co-creator Susie Lewis.\u003c/p>\n\u003cp>MTV animation wasn’t only hand-drawn images. The network also produced a hit claymation series called \u003cem>Celebrity Deathmatch\u003c/em> in which mock-ups of celebrities took each other on in the wrestling ring and fought, well, to the death. The pilot episode aired at the same time as the Super Bowl halftime show in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3hDNXE0v8kU\u003c/p>\n\u003cp>In recent years, MTV hasn’t had the same track record in animation. Other networks and streaming services have become home to even bolder cartoons intended for older audiences.\u003c/p>\n\u003cp>But MTV Entertainment president Chris McCarthy says you shouldn’t count MTV out just yet. McCarthy says MTV is developing new animated ideas as well as rebooting a few old favorites.\u003c/p>\n\u003cp>“Animation has been critical to the MTV brand from its inception, ” says McCarthy.\u003c/p>\n\u003cp>Among the shows coming back are \u003cem>Beavis and Butt-Head\u003c/em> (its second reboot for the record) as well as a series reimagining \u003cem>Daria \u003c/em>character Jodie as a Gen Z college grad entering the workforce.\u003c/p>\n\u003cp>“We think the animation and its rebirth is just the beginning of a next great chapter of this legacy,” says McCarthy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W8r-tXRLazs&list=PLy2PCKGkKRVZVyzPfNj_R-aYn4IztIyT-\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://ww2.kqed.org/arts/2021/07/29/hitting-the-road-and-building-a-northern-california-bucket-list/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MTV+Is+Turning+40+%E2%80%94+Here%27s+How+Beavis%2C+Butt-Head+And+Daria+Disrupted+Cable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\">\u003cstrong>Updated July 30, 2021 at 8:42 AM ET\u003c/strong>\u003c/div>\n\u003cp>From the moment MTV launched on Aug. 1, 1981, it was bound to rattle the nerves of parents and moral crusaders. In its first decade on air, provocative videos and performances from pop stars including Madonna and George Michael invited attention and ignited controversy.\u003c/p>\n\u003cp>Though it’s fairly established by now that the cable channel-turned-entertainment brand stopped being the home of music videos some time ago, its contribution to the television landscape transcends music and reality TV. By the 1990s, the network’s biggest stars also included its resident pair of animated knuckleheads: Beavis and Butt-Head.\u003c/p>\n\u003ch3>Critic-proof, crudely drawn rebels go pop\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show about brain dead teens and their pubescent whims debuted on MTV in 1993 and was quick to catch flack for everything from its rougher animation style to the impulsive actions of its stars. Critics called the duo \u003ca href=\"https://www.youtube.com/watch?v=7vhPukfBAwQ\" target=\"_blank\" rel=\"noopener noreferrer\">“crude,” “ugly” and “self-destructive.”\u003c/a>\u003c/p>\n\u003cp>Kris Brown became the head writer of \u003cem>Beavis and Butt-Head \u003c/em>in 1994. He says when he was assigned his first episode, he described the show to his own father as being “about these two 13-year-olds that are really stupid and they’re just self-destructive. They’re really into heavy metal, and I mean I don’t think it’s for you really, but I’m really excited about it.” His dad paused and, as Brown recalls, said, “Well, do you plan on writing for anything else?”\u003c/p>\n\u003cp>But the show was critic-proof. \u003cem>Beavis and Butt-Head \u003c/em>became MTV’s highest rated show at one time and expanded into a 1996 feature film—\u003cem>Beavis and Butt-Head Do America\u003c/em>. The movie got two thumbs up from critics Gene Siskel and Roger Ebert and featured multiple cameos, including one from super-fan David Letterman as a roadie who most certainly sired Butt-Head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jRnVQ4NBXko'\n title='//www.youtube.com/embed/jRnVQ4NBXko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A hub for experimentation and innovation\u003c/h3>\n\u003cp>\u003cem>Beavis and Butt-Head \u003c/em>may have been a cartoon, but it was also central to MTV’s identity. Animation, it turns out, was baked into the network’s foundation, says Fred Seibert, who helped develop MTV’s initial branding campaigns.\u003c/p>\n\u003cp>“We kind of realized that in many ways cartoons, like \u003cem>Looney Tunes\u003c/em>, were kind of like the kid equivalent of rock ‘n’ roll,” Seibert explains.\u003c/p>\n\u003cp>For animators who wanted to work outside of TV conventions at the time, MTV became a destination and a laboratory. According to Maureen Furniss, who is an animation historian at the California Institute of the Arts, “[MTV] showed people in the public things they had never seen before in animation and gave opportunities to a lot of independent animators and experimental animators.”\u003c/p>\n\u003cp>One of the most important of those experiments were shorts that served as the station’s promotional IDs: the “M” of the MTV logo morphing into various forms, for example.\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/PrUfMqRlYpk'\n title='//www.youtube.com/embed/PrUfMqRlYpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The freedom given to the creators of these promos by MTV’s marketing teams helped serve as a prototype for how the network approached its longer animated shows, says Abby Terkuhle. He became head of the network’s on-air promotions—and eventually oversaw MTV animation.\u003c/p>\n\u003cp>“MTV animation was truly an outgrowth and extension of MTV on-air promotion and MTV on-air promotion was incredible. It was a creative laboratory, ” Terkuhle says. “We were not only allowed to take risks, but encouraged to take risks and the executives had our back.”\u003c/p>\n\u003cfigure id=\"attachment_13900491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg\" alt=\"'Beavis and Butt-Head' creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, 'Beavis and Butt-Head Do America.' From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beavis and Butt-Head’ creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, ‘Beavis and Butt-Head Do America.’ From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation. \u003ccite>(Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That ethos of a creative laboratory that took risks drew show creators to pitch and push for ideas that wouldn’t end up elsewhere on television.\u003c/p>\n\u003cp>MTV’s first full animated program \u003cem>Liquid Television\u003c/em> premiered in 1991 and was a free-flowing showcase of all kinds of animation. It included the cable debut of \u003cem>Beavis and Butt-Head \u003c/em>in the short “\u003ca href=\"https://www.youtube.com/watch?v=m0HpG7Nx7fA\" target=\"_blank\" rel=\"noopener noreferrer\">Frog Baseball\u003c/a>“—an animation festival favorite at the time—as well as parodies of existing TV genres such as game shows and soap operas.\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/ir2qcPwZFdQ'\n title='//www.youtube.com/embed/ir2qcPwZFdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Liquid Television\u003c/em> also included bold experiments in narrative storytelling—and introduced the visually sumptuous world of \u003cem>Aeon Flux\u003c/em>—a spy who has since become a cult icon.\u003c/p>\n\u003cp>Peter Chung, who developed \u003cem>Aeon Flux \u003c/em>for MTV, says, “It had to be something you could not see anywhere else. And so that really encouraged me to make something that was as loaded with as much innuendo, making it a point to make it as transgressive and as eye-catching as I could make it.”\u003c/p>\n\u003ch3>Self-aware ’90s teen angst and claymation wars\u003c/h3>\n\u003cp>From the the mid-1990s to the early 2000s, MTV also ran its own animation studio which produced multiple series—including a \u003cem>Beavis and Butt-Head\u003c/em> spinoff that gave audiences another iconic character.\u003c/p>\n\u003cp>\u003cem>Daria\u003c/em> premiered in 1997 and was a show unafraid to bite the hand that feeds it. Its incisive main character regularly went after the superficialities and commodification of teen life—a tendency MTV itself has long been accused of. But the show could also offer poignant coming-of-age moments.\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/L0WBODNzyCg'\n title='//www.youtube.com/embed/L0WBODNzyCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We kind of just went with the typical stories that every show about teenagers covers, but because it was from the eyes of Daria, it ended up with a completely different tone, which was funny and deadpan kind of humor,” says \u003cem>Daria\u003c/em> co-creator Susie Lewis.\u003c/p>\n\u003cp>MTV animation wasn’t only hand-drawn images. The network also produced a hit claymation series called \u003cem>Celebrity Deathmatch\u003c/em> in which mock-ups of celebrities took each other on in the wrestling ring and fought, well, to the death. The pilot episode aired at the same time as the Super Bowl halftime show in 1998.\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/3hDNXE0v8kU'\n title='//www.youtube.com/embed/3hDNXE0v8kU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, MTV hasn’t had the same track record in animation. Other networks and streaming services have become home to even bolder cartoons intended for older audiences.\u003c/p>\n\u003cp>But MTV Entertainment president Chris McCarthy says you shouldn’t count MTV out just yet. McCarthy says MTV is developing new animated ideas as well as rebooting a few old favorites.\u003c/p>\n\u003cp>“Animation has been critical to the MTV brand from its inception, ” says McCarthy.\u003c/p>\n\u003cp>Among the shows coming back are \u003cem>Beavis and Butt-Head\u003c/em> (its second reboot for the record) as well as a series reimagining \u003cem>Daria \u003c/em>character Jodie as a Gen Z college grad entering the workforce.\u003c/p>\n\u003cp>“We think the animation and its rebirth is just the beginning of a next great chapter of this legacy,” says McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x580mowu5Gs\u003c/p>\n\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpE4893PxqE\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQuf18ajNIr/\u003c/p>\n\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oCUFC-ULdOk\u003c/p>\n\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBPzxmxf9ig\u003c/p>\n\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x580mowu5Gs'\n title='//www.youtube.com/embed/x580mowu5Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QpE4893PxqE'\n title='//www.youtube.com/embed/QpE4893PxqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oCUFC-ULdOk'\n title='//www.youtube.com/embed/oCUFC-ULdOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\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/MBPzxmxf9ig'\n title='//www.youtube.com/embed/MBPzxmxf9ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dear Emmy Voters and TV Lovers, Here's What You Shouldn't Miss",
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"content": "\u003cp>As a critic who loves glitzy awards shows and celebrations of great work, I find the Emmy season feels a bit like Christmas and the Super Bowl rolled into one, glorious package. But it can be ruined if the folks handing out the big awards make the wrong picks.\u003c/p>\n\u003cp>Just ask the Hollywood Foreign Press Association, which last year saw controversy over its \u003ca href=\"https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">lack of diversity\u003c/a> in TV categories of the Golden Globes—epitomized by ignoring HBO’s compelling, Black-led drama \u003cem>I May Destroy You—\u003c/em>snowball into the snub that helped cripple a 77-year-old Hollywood institution.\u003c/p>\n\u003cp>So, as the members of the Academy of Television Arts and Sciences wrap up voting on nominations for the Emmys today, I have a few recommendations for under-the-radar potentials they should seriously consider.\u003c/p>\n\u003cp>These suggestions won’t necessarily avoid a Globes-level disaster; frankly, any institution that tone deaf seems bound for tragedy. But they can widen the field of consideration enough so that any one snub won’t make the entire enterprise look bad.\u003c/p>\n\u003cp>And if you’re not among Emmy voters, but simply someone who loves great TV, here’s a list of some shows and performances you might have missed while catching up on \u003cem>WandaVision\u003c/em> and \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Comedy: Naomi Ackie, \u003c/strong>\u003cem>\u003cstrong>Master of None,\u003c/strong>\u003c/em>\u003cstrong> Netflix\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>The latest season of Netflix’s \u003cem>Master of None\u003c/em> felt much more like a drama, centered on the decaying marriage between Ackie’s ambitious interior designer Alicia and Lena Waithe’s floundering novelist Denise. But the show was considered a comedy in previous seasons, focused on Aziz Ansari’s hapless actor Dev, so here we are. Ackie’s smart, determined Alicia is the beating heart of this new season for a reimagined show—a woman dedicated to having a baby despite how it affects her marriage or her health. The episode featuring her fertility struggles while moving on from Denise and building a new life is the biggest reason to watch at all, proof that they needed to pair Waithe with a talented, emotive actress to make this year’s episodes soar.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Comedy Series: \u003c/strong>\u003cem>\u003cstrong>Shrill, \u003c/strong>\u003c/em>\u003cstrong>Hulu and/or \u003c/strong>\u003cem>\u003cstrong>Made for Love, \u003c/strong>\u003c/em>\u003cstrong>HBO Max\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2091t8zCvE\u003c/p>\n\u003cp>[aside postid='arts_13897829']In \u003cem>Shrill, Saturday Night Live\u003c/em>‘s Aidy Bryant has created an unassuming, yet surprisingly adept comedy about a millennial woman struggling to grow beyond the limited picture others have of her. And in the same way Bryant’s Annie refuses to let herself be defined as the fat girl who writes about body positivity for the lame weekly newspaper where she works, \u003cem>Shrill \u003c/em>refuses to limit itself to her story as an overweight woman, morphing in its third and final season into a perceptive, touching comedy about preparing for adulting.\u003c/p>\n\u003cp>\u003cem>Made for Love\u003c/em> is an odd, sci-fi-laced dark comedy featuring Cristin Milioti as a woman whose effort to leave her suffocating marriage to a tech billionaire is hampered by a chip he planted in her brain allowing him to track her movements and see what she sees. Of course, it’s an allegory for the suffocating nature of modern misogyny. But thanks to the comedic chops of Milioti and ace backups like Ray Romano as her sex doll-loving dad, it’s also a madcap treatise on the pitfalls of family, technology and personal relationships-as marketing.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Lead Actor, Comedy: William Zabka, \u003c/strong>\u003cem>\u003cstrong>Cobra Kai, \u003c/strong>\u003c/em>\u003cstrong>Netflix\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LcDQqGJG8pA\u003c/p>\n\u003cp>For some reason, Netflix’s \u003cem>Karate Kid\u003c/em> update series is classified as a comedy for Emmy purposes (they probably figure the category offers less competition). Regardless, Zabka’s compelling, sympathetic take on grown-up-bad-guy Johnny Lawrence—a loser in his 50s still fighting to contain his anger and get past abusive father figures—is the series’ secret sauce. Lawrence’s struggles are the most realistic element of \u003cem>Cobra Kai\u003c/em> and close to the only performance worth repeated watching, once you peel away the nostalgia and what-do-they-look-like-now curiosity.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Limited Series: \u003c/strong>\u003cem>\u003cstrong>Small Axe, \u003c/strong>\u003c/em>\u003cstrong>Amazon and \u003c/strong>\u003cem>\u003cstrong>The Underground Railroad,\u003c/strong>\u003c/em>\u003cstrong> Amazon\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SjFAEy-0BLk\u003c/p>\n\u003cp>With only five nomination slots and high-profile series like \u003cem>The Queen’s Gambit, Mare of Easttown, WandaVision\u003c/em> and \u003cem>The Undoing\u003c/em> in contention, this may be the most competitive category in the entire contest. So it will be tempting for Emmy voters to pick just one of two high-profile, big-budget projects centered on Black culture and characters.\u003c/p>\n\u003cp>But \u003cem>Small Ax\u003c/em>e and \u003cem>The Underground Railroad \u003c/em>are very different. \u003cem>Small Axe\u003c/em> is Oscar-winning director Steve McQueen’s effort to tell the untold story of Black immigrants in England with five evocative films. \u003cem>The Underground Railroad\u003c/em> is Oscar-winning director Barry Jenkins’ beautifully punishing, 10-episode take on Colson Whitehead’s novel leveraging magical realism in the story of an escaped slave’s journey to independence. Both deserve the honor of a nomination, no matter how crowded the field.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Drama: Wunmi Mosaku,\u003c/strong>\u003cem>\u003cstrong> Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> HBO\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003cp>Perhaps the most subversive character in HBO’s series on a Black family trapped in a story of horror, afrofuturism and magic, Mosaku’s Ruby Baptiste is a Black woman who gains the ability through magic to become a white woman in 1950s America. It’s a painful transformation, which involves shedding skin in bloody ribbons. But what makes the transition truly chilling is Mosaku’s portrayal of a Black woman who suspects that being able to become white may solve all her problems, until it actually happens.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Variety Sketch Series: \u003c/strong>\u003cem>\u003cstrong>The Amber Ruffin Show,\u003c/strong>\u003c/em>\u003cstrong> Peacock\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=etPUShGZMmw\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is another highly competitive category: last year, just three shows were nominated, with \u003cem>Saturday Night Live\u003c/em> a virtual lock for nomination and win. Still, Ruffin has managed to build a quietly powerful, sidesplitting series on NBC Universal’s streaming service Peacock. Ruffin marries devastatingly hilarious monologues on code switching at work, your mom’s take on social issues and white supremacy’s connection to the culture wars with her earnest, sweet attitude—like a hitman disguised as your little sister’s best friend. Since its debut last year, Ruffin has slowly found her voice, building an arsenal of awesome segments on a budget that would likely make shoestrings look generous. And an Emmy nomination just might convince Peacock to move her onto broadcast TV, perhaps in the old time slot once held by the departing \u003cem>A Little Late with Lilly Singh\u003c/em>. Your move, Emmy academy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dear+Emmy+Voters+And+TV+Lovers%2C+Here%27s+What+You+Shouldn%27t+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a critic who loves glitzy awards shows and celebrations of great work, I find the Emmy season feels a bit like Christmas and the Super Bowl rolled into one, glorious package. But it can be ruined if the folks handing out the big awards make the wrong picks.\u003c/p>\n\u003cp>Just ask the Hollywood Foreign Press Association, which last year saw controversy over its \u003ca href=\"https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">lack of diversity\u003c/a> in TV categories of the Golden Globes—epitomized by ignoring HBO’s compelling, Black-led drama \u003cem>I May Destroy You—\u003c/em>snowball into the snub that helped cripple a 77-year-old Hollywood institution.\u003c/p>\n\u003cp>So, as the members of the Academy of Television Arts and Sciences wrap up voting on nominations for the Emmys today, I have a few recommendations for under-the-radar potentials they should seriously consider.\u003c/p>\n\u003cp>These suggestions won’t necessarily avoid a Globes-level disaster; frankly, any institution that tone deaf seems bound for tragedy. But they can widen the field of consideration enough so that any one snub won’t make the entire enterprise look bad.\u003c/p>\n\u003cp>And if you’re not among Emmy voters, but simply someone who loves great TV, here’s a list of some shows and performances you might have missed while catching up on \u003cem>WandaVision\u003c/em> and \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Comedy: Naomi Ackie, \u003c/strong>\u003cem>\u003cstrong>Master of None,\u003c/strong>\u003c/em>\u003cstrong> Netflix\u003c/strong>\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/BQqh6yZaRNI'\n title='//www.youtube.com/embed/BQqh6yZaRNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest season of Netflix’s \u003cem>Master of None\u003c/em> felt much more like a drama, centered on the decaying marriage between Ackie’s ambitious interior designer Alicia and Lena Waithe’s floundering novelist Denise. But the show was considered a comedy in previous seasons, focused on Aziz Ansari’s hapless actor Dev, so here we are. Ackie’s smart, determined Alicia is the beating heart of this new season for a reimagined show—a woman dedicated to having a baby despite how it affects her marriage or her health. The episode featuring her fertility struggles while moving on from Denise and building a new life is the biggest reason to watch at all, proof that they needed to pair Waithe with a talented, emotive actress to make this year’s episodes soar.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Comedy Series: \u003c/strong>\u003cem>\u003cstrong>Shrill, \u003c/strong>\u003c/em>\u003cstrong>Hulu and/or \u003c/strong>\u003cem>\u003cstrong>Made for Love, \u003c/strong>\u003c/em>\u003cstrong>HBO Max\u003cbr>\n\u003c/strong>\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/n2091t8zCvE'\n title='//www.youtube.com/embed/n2091t8zCvE'\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>In \u003cem>Shrill, Saturday Night Live\u003c/em>‘s Aidy Bryant has created an unassuming, yet surprisingly adept comedy about a millennial woman struggling to grow beyond the limited picture others have of her. And in the same way Bryant’s Annie refuses to let herself be defined as the fat girl who writes about body positivity for the lame weekly newspaper where she works, \u003cem>Shrill \u003c/em>refuses to limit itself to her story as an overweight woman, morphing in its third and final season into a perceptive, touching comedy about preparing for adulting.\u003c/p>\n\u003cp>\u003cem>Made for Love\u003c/em> is an odd, sci-fi-laced dark comedy featuring Cristin Milioti as a woman whose effort to leave her suffocating marriage to a tech billionaire is hampered by a chip he planted in her brain allowing him to track her movements and see what she sees. Of course, it’s an allegory for the suffocating nature of modern misogyny. But thanks to the comedic chops of Milioti and ace backups like Ray Romano as her sex doll-loving dad, it’s also a madcap treatise on the pitfalls of family, technology and personal relationships-as marketing.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Lead Actor, Comedy: William Zabka, \u003c/strong>\u003cem>\u003cstrong>Cobra Kai, \u003c/strong>\u003c/em>\u003cstrong>Netflix\u003c/strong>\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/LcDQqGJG8pA'\n title='//www.youtube.com/embed/LcDQqGJG8pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For some reason, Netflix’s \u003cem>Karate Kid\u003c/em> update series is classified as a comedy for Emmy purposes (they probably figure the category offers less competition). Regardless, Zabka’s compelling, sympathetic take on grown-up-bad-guy Johnny Lawrence—a loser in his 50s still fighting to contain his anger and get past abusive father figures—is the series’ secret sauce. Lawrence’s struggles are the most realistic element of \u003cem>Cobra Kai\u003c/em> and close to the only performance worth repeated watching, once you peel away the nostalgia and what-do-they-look-like-now curiosity.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Limited Series: \u003c/strong>\u003cem>\u003cstrong>Small Axe, \u003c/strong>\u003c/em>\u003cstrong>Amazon and \u003c/strong>\u003cem>\u003cstrong>The Underground Railroad,\u003c/strong>\u003c/em>\u003cstrong> Amazon\u003c/strong>\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/SjFAEy-0BLk'\n title='//www.youtube.com/embed/SjFAEy-0BLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With only five nomination slots and high-profile series like \u003cem>The Queen’s Gambit, Mare of Easttown, WandaVision\u003c/em> and \u003cem>The Undoing\u003c/em> in contention, this may be the most competitive category in the entire contest. So it will be tempting for Emmy voters to pick just one of two high-profile, big-budget projects centered on Black culture and characters.\u003c/p>\n\u003cp>But \u003cem>Small Ax\u003c/em>e and \u003cem>The Underground Railroad \u003c/em>are very different. \u003cem>Small Axe\u003c/em> is Oscar-winning director Steve McQueen’s effort to tell the untold story of Black immigrants in England with five evocative films. \u003cem>The Underground Railroad\u003c/em> is Oscar-winning director Barry Jenkins’ beautifully punishing, 10-episode take on Colson Whitehead’s novel leveraging magical realism in the story of an escaped slave’s journey to independence. Both deserve the honor of a nomination, no matter how crowded the field.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Drama: Wunmi Mosaku,\u003c/strong>\u003cem>\u003cstrong> Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> HBO\u003c/strong>\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/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the most subversive character in HBO’s series on a Black family trapped in a story of horror, afrofuturism and magic, Mosaku’s Ruby Baptiste is a Black woman who gains the ability through magic to become a white woman in 1950s America. It’s a painful transformation, which involves shedding skin in bloody ribbons. But what makes the transition truly chilling is Mosaku’s portrayal of a Black woman who suspects that being able to become white may solve all her problems, until it actually happens.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Variety Sketch Series: \u003c/strong>\u003cem>\u003cstrong>The Amber Ruffin Show,\u003c/strong>\u003c/em>\u003cstrong> Peacock\u003c/strong>\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/etPUShGZMmw'\n title='//www.youtube.com/embed/etPUShGZMmw'\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>This is another highly competitive category: last year, just three shows were nominated, with \u003cem>Saturday Night Live\u003c/em> a virtual lock for nomination and win. Still, Ruffin has managed to build a quietly powerful, sidesplitting series on NBC Universal’s streaming service Peacock. Ruffin marries devastatingly hilarious monologues on code switching at work, your mom’s take on social issues and white supremacy’s connection to the culture wars with her earnest, sweet attitude—like a hitman disguised as your little sister’s best friend. Since its debut last year, Ruffin has slowly found her voice, building an arsenal of awesome segments on a budget that would likely make shoestrings look generous. And an Emmy nomination just might convince Peacock to move her onto broadcast TV, perhaps in the old time slot once held by the departing \u003cem>A Little Late with Lilly Singh\u003c/em>. Your move, Emmy academy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dear+Emmy+Voters+And+TV+Lovers%2C+Here%27s+What+You+Shouldn%27t+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After 28 Quirky Years, Conan O'Brien is Leaving Late Night",
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"content": "\u003cp>Conan O’Brien keeps saying this goodbye is a good thing.\u003c/p>\n\u003cp>After 28 years as a late night talk show host, spanning three different shows on two networks, he leaves the nightly grind tonight. He’ll sign off from his TBS show \u003cem>Conan\u003c/em>, presumably for good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8_KsatcC8c&t=1s\u003c/p>\n\u003cp>But in watching a run of half-hour episodes leading up to tonight’s finale, it seems there’s something else going on underneath the smiles, nostalgia and good times.\u003c/p>\n\u003cp>Featuring a roster of longtime pals, the final episodes can’t help feeling a little like a wake—if a fun and good-natured one. Seth Rogen let it slip that he was about 12 years old when he first watched O’Brien on TV back in the mid ’90s; another sign of how influential the host has been for a generation of comics in ways that are rarely credited.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the kind of thing you do when you know it’s over for you,” O’Brien joked during Rogen’s visit, as he lit up a joint that the actor and cannabis entrepreneur brought with him.\u003c/p>\n\u003cp>Given that O’Brien will soon lose his status as late night’s longest tenured current host, it was easy to read a double meaning in that moment.\u003c/p>\n\u003ch3>TV’s late night misfit\u003c/h3>\n\u003cp>To me, despite his longevity, Conan O’Brien has always seemed like a host who never fit in easily on television—perhaps, at least in part, by design.\u003c/p>\n\u003cp>His history with \u003cem>Conan\u003c/em> on TBS seems a poignant example. Created in 2010 as his landing spot after getting maneuvered out of hosting NBC’s\u003cem> Tonight Show\u003c/em>, the then-hour long show developed a robust online presence and filmed episodes in Cuba, Armenia and South Korea, evolving into his \u003ca href=\"https://teamcoco.com/conanwithoutborders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Conan Without Borders\u003c/em>\u003c/a> specials.\u003c/p>\n\u003cp>[aside postid='arts_13867505']But it never developed Nielsen ratings to match what O’Brien could access on a broadcast network (The Wrap website \u003ca href=\"https://www.thewrap.com/conan-tv-ratings-down-final-show-canceled/\" target=\"_blank\" rel=\"noopener noreferrer\">reported this week\u003c/a> \u003cem>Conan\u003c/em>‘s ratings have declined 29 percent during the current TV season, averaging about 282,000 viewers a night). Instead, the show has leaned into creating online content for fans to consume on YouTube and through his website, mirroring how many viewers now seem to connect with talk show content.\u003c/p>\n\u003cp>\u003cem>Conan\u003c/em> went on hiatus in 2018, coming back months later as a stripped-down half-hour show without a band. Now, O’Brien is leaving TBS altogether, with plans to debut a weekly variety show on corporate sibling HBO Max. He’s also got loads of multimedia projects going under his \u003ca href=\"https://teamcoco.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Team Coco banner\u003c/a>, including podcasts (\u003cem>Conan O’Brien Needs a Friend, Literally with Rob Lowe\u003c/em>), stand-up specials from other comics, merchandising and more.\u003c/p>\n\u003cp>O’Brien told WHYY’s \u003cem>Fresh Air\u003c/em> \u003ca href=\"https://www.npr.org/2020/11/26/938521404/conan-obrien-on-late-night-tv-all-i-ever-wanted-to-do-was-make-people-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2019\u003c/a> that “what I don’t want to do is sleepwalk my way through my career at this stage,” hinting at a restless spirit which has powered many of his recent projects.\u003c/p>\n\u003cp>Still, this transition feels like an odd combination of O’Brien leaving late night TV as the genre leaves him. His smartly silly comedy—disconnected from politics, celebrity worship or anything resembling showbiz cool—is now beloved by a sliver of the TV audience too small to sustain a regular gig, even on standard cable.\u003c/p>\n\u003cp>Even as new voices like Amber Ruffin, Desus and Mero and Ziwe try to reinvent late night talk for a new generation, O’Brien is headed for the exit, seemingly eager to redefine himself before the industry does it for him.\u003c/p>\n\u003ch3>Carving and sustaining a distinctive voice\u003c/h3>\n\u003cp>[aside postid='pop_112397']I remember that O’Brien also didn’t seem to quite fit in when he first entered the late night talk arena way back in 1993, taking over NBC’s \u003cem>Late Night\u003c/em> show after David Letterman left for CBS.\u003c/p>\n\u003cp>Despite stints as a writer on both \u003cem>The Simpsons\u003c/em> and \u003cem>Saturday Night Live\u003c/em>, O’Brien seemed an untested talent back then who hadn’t built his persona in public, like the former standup comics who hosted all the other late night talk shows.\u003c/p>\n\u003cp>It took years for his version of \u003cem>Late Night\u003c/em> to gel, as the network initially hedged its bets by refusing to give him a long-term contract. Airing at 12:30 p.m., he was on the fringe of late night, speaking mostly to college students and insomniacs long before video clips on the internet could spread awareness beyond those who watched it on NBC.\u003c/p>\n\u003cp>His version of \u003cem>Late Night\u003c/em> eventually won over critics and the public, fueled by quirky bits like a guy in a bear suit who couldn’t stop fondling himself dubbed the “Masturbating Bear.” But when it came time for O’Brien to take over the venerated \u003cem>Tonight Show\u003c/em> from Jay Leno many years later in 2009, the cutthroat politics of late night TV intervened.\u003c/p>\n\u003cp>Leno didn’t actually leave NBC when O’Brien moved up. Instead, Leno got the network to give him a primetime show at 10 p.m. Ratings for both Leno and O’Brien cratered; months later, O’Brien was leaving NBC with a payout reportedly north of $30 million.\u003c/p>\n\u003cp>It’s worth noting that, along with his own talents—including rapid-fire wit and fearlessness as a performer—O’Brien has had some outside help crafting his unique showbiz journey.\u003c/p>\n\u003cp>[aside postid='arts_10138746']After \u003cem>Saturday Night Live\u003c/em> empresario Lorne Michaels picked O’Brien to take over \u003cem>Late Night\u003c/em>, I marveled at how much time NBC gave him to pull that show together. When O’Brien needed a place to land after leaving the \u003cem>Tonight Show\u003c/em>, TBS convinced George Lopez to move his existing talk show back one hour to midnight and make room for Conan. (The midnight edition of \u003cem>Lopez Tonight\u003c/em> would be canceled less than a year later, ending the journey for a pioneering Latino late night TV host).\u003c/p>\n\u003cp>I always wondered where late night TV diversity would be if hosts of color got similar support in the past.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These days, despite nearly three decades in the trenches of late night TV, it’s tough to zero in on the legacy O’Brien will leave. In the end, it may just be the story of an irrepressible talent who always found a way to shine wherever he landed, fueled by his own quirky comedy sense and relentless drive, regardless of what was going on around him.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+28+Quirky+Years%2C+Conan+O%27Brien+Is+Leaving+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conan O’Brien keeps saying this goodbye is a good thing.\u003c/p>\n\u003cp>After 28 years as a late night talk show host, spanning three different shows on two networks, he leaves the nightly grind tonight. He’ll sign off from his TBS show \u003cem>Conan\u003c/em>, presumably for good.\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/x8_KsatcC8c'\n title='//www.youtube.com/embed/x8_KsatcC8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in watching a run of half-hour episodes leading up to tonight’s finale, it seems there’s something else going on underneath the smiles, nostalgia and good times.\u003c/p>\n\u003cp>Featuring a roster of longtime pals, the final episodes can’t help feeling a little like a wake—if a fun and good-natured one. Seth Rogen let it slip that he was about 12 years old when he first watched O’Brien on TV back in the mid ’90s; another sign of how influential the host has been for a generation of comics in ways that are rarely credited.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the kind of thing you do when you know it’s over for you,” O’Brien joked during Rogen’s visit, as he lit up a joint that the actor and cannabis entrepreneur brought with him.\u003c/p>\n\u003cp>Given that O’Brien will soon lose his status as late night’s longest tenured current host, it was easy to read a double meaning in that moment.\u003c/p>\n\u003ch3>TV’s late night misfit\u003c/h3>\n\u003cp>To me, despite his longevity, Conan O’Brien has always seemed like a host who never fit in easily on television—perhaps, at least in part, by design.\u003c/p>\n\u003cp>His history with \u003cem>Conan\u003c/em> on TBS seems a poignant example. Created in 2010 as his landing spot after getting maneuvered out of hosting NBC’s\u003cem> Tonight Show\u003c/em>, the then-hour long show developed a robust online presence and filmed episodes in Cuba, Armenia and South Korea, evolving into his \u003ca href=\"https://teamcoco.com/conanwithoutborders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Conan Without Borders\u003c/em>\u003c/a> specials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it never developed Nielsen ratings to match what O’Brien could access on a broadcast network (The Wrap website \u003ca href=\"https://www.thewrap.com/conan-tv-ratings-down-final-show-canceled/\" target=\"_blank\" rel=\"noopener noreferrer\">reported this week\u003c/a> \u003cem>Conan\u003c/em>‘s ratings have declined 29 percent during the current TV season, averaging about 282,000 viewers a night). Instead, the show has leaned into creating online content for fans to consume on YouTube and through his website, mirroring how many viewers now seem to connect with talk show content.\u003c/p>\n\u003cp>\u003cem>Conan\u003c/em> went on hiatus in 2018, coming back months later as a stripped-down half-hour show without a band. Now, O’Brien is leaving TBS altogether, with plans to debut a weekly variety show on corporate sibling HBO Max. He’s also got loads of multimedia projects going under his \u003ca href=\"https://teamcoco.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Team Coco banner\u003c/a>, including podcasts (\u003cem>Conan O’Brien Needs a Friend, Literally with Rob Lowe\u003c/em>), stand-up specials from other comics, merchandising and more.\u003c/p>\n\u003cp>O’Brien told WHYY’s \u003cem>Fresh Air\u003c/em> \u003ca href=\"https://www.npr.org/2020/11/26/938521404/conan-obrien-on-late-night-tv-all-i-ever-wanted-to-do-was-make-people-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2019\u003c/a> that “what I don’t want to do is sleepwalk my way through my career at this stage,” hinting at a restless spirit which has powered many of his recent projects.\u003c/p>\n\u003cp>Still, this transition feels like an odd combination of O’Brien leaving late night TV as the genre leaves him. His smartly silly comedy—disconnected from politics, celebrity worship or anything resembling showbiz cool—is now beloved by a sliver of the TV audience too small to sustain a regular gig, even on standard cable.\u003c/p>\n\u003cp>Even as new voices like Amber Ruffin, Desus and Mero and Ziwe try to reinvent late night talk for a new generation, O’Brien is headed for the exit, seemingly eager to redefine himself before the industry does it for him.\u003c/p>\n\u003ch3>Carving and sustaining a distinctive voice\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I remember that O’Brien also didn’t seem to quite fit in when he first entered the late night talk arena way back in 1993, taking over NBC’s \u003cem>Late Night\u003c/em> show after David Letterman left for CBS.\u003c/p>\n\u003cp>Despite stints as a writer on both \u003cem>The Simpsons\u003c/em> and \u003cem>Saturday Night Live\u003c/em>, O’Brien seemed an untested talent back then who hadn’t built his persona in public, like the former standup comics who hosted all the other late night talk shows.\u003c/p>\n\u003cp>It took years for his version of \u003cem>Late Night\u003c/em> to gel, as the network initially hedged its bets by refusing to give him a long-term contract. Airing at 12:30 p.m., he was on the fringe of late night, speaking mostly to college students and insomniacs long before video clips on the internet could spread awareness beyond those who watched it on NBC.\u003c/p>\n\u003cp>His version of \u003cem>Late Night\u003c/em> eventually won over critics and the public, fueled by quirky bits like a guy in a bear suit who couldn’t stop fondling himself dubbed the “Masturbating Bear.” But when it came time for O’Brien to take over the venerated \u003cem>Tonight Show\u003c/em> from Jay Leno many years later in 2009, the cutthroat politics of late night TV intervened.\u003c/p>\n\u003cp>Leno didn’t actually leave NBC when O’Brien moved up. Instead, Leno got the network to give him a primetime show at 10 p.m. Ratings for both Leno and O’Brien cratered; months later, O’Brien was leaving NBC with a payout reportedly north of $30 million.\u003c/p>\n\u003cp>It’s worth noting that, along with his own talents—including rapid-fire wit and fearlessness as a performer—O’Brien has had some outside help crafting his unique showbiz journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After \u003cem>Saturday Night Live\u003c/em> empresario Lorne Michaels picked O’Brien to take over \u003cem>Late Night\u003c/em>, I marveled at how much time NBC gave him to pull that show together. When O’Brien needed a place to land after leaving the \u003cem>Tonight Show\u003c/em>, TBS convinced George Lopez to move his existing talk show back one hour to midnight and make room for Conan. (The midnight edition of \u003cem>Lopez Tonight\u003c/em> would be canceled less than a year later, ending the journey for a pioneering Latino late night TV host).\u003c/p>\n\u003cp>I always wondered where late night TV diversity would be if hosts of color got similar support in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, despite nearly three decades in the trenches of late night TV, it’s tough to zero in on the legacy O’Brien will leave. In the end, it may just be the story of an irrepressible talent who always found a way to shine wherever he landed, fueled by his own quirky comedy sense and relentless drive, regardless of what was going on around him.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+28+Quirky+Years%2C+Conan+O%27Brien+Is+Leaving+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, a trailer drops that instantly catches the attention of one’s Twitter feed, and I started seeing discussions of \u003cem>Sexy Beasts \u003c/em>as soon as Netflix put the spot out there. And that makes sense, since it opens with a scene where a woman wearing a panda head talks to a man made up to look like a bull with Carrot Top’s hair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJO5m6EFL6A\u003c/p>\n\u003cp>The woman with the panda head is concerned about whether Bull Who Is Also Carrot Top has health insurance. “Could you fall in love with someone based on personality alone?” asks the narrator, as we watch scenes of people who can see every part of each other’s bodies except for their heads.\u003c/p>\n\u003cp>“Ass first, personality second,” says a man dressed as, I’m going to say, a beaver (I’m so sorry) as he neatly renders the show pointless, given that the costumes do not obscure either the ass or the personality, meaning he can continue to prioritize them exactly as he did before.\u003c/p>\n\u003cp>You should not think that because this is a show in which everyone is dressed like a scarecrow or a dolphin (I think she’s a dolphin?) or a devil, that the people don’t have real feelings. “This is going to be really hard for me,” says the dolphin, presumably before she breaks the heart of … who knows, an owl or a mongoose or Frankenstein’s monster. (I want to stress that if you are a person who likes to dress up like an owl or Frankenstein’s monster as part of your chosen romantic life, this has nothing to do with you. This has to do with replacing your head with a bunny’s head as part of a bizarre experiment to see whether someone would still kiss you if you had a bunny’s head.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, look. Not to torpedo the logic of a show where a panda goes on an axe-throwing date, but all these people are hot! If you want to find out whether hot people can fall in love while not being able to see each other’s heads, attend any Halloween party with high-quality masks. (There was a similar issue with \u003cem>Love is Blind, \u003c/em>a Netflix show from last year where attractive people flirted from separate rooms.) Has Netflix simply reinvented the elite masquerade ball? These are all conventionally attractive people (because you eventually do see them) who would do very well on a dating app called Eh, Personalities Are Overrated. They were all doing fine, most likely, in our regular world in which we all go out with our own heads on.\u003c/p>\n\u003cp>That said, I’m rooting for the dolphin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sexy Beasts arrives on Netflix on July 21. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sexy+Beasts%27+Is+Coming+To+Netflix%2C+And+We+Have+...+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, a trailer drops that instantly catches the attention of one’s Twitter feed, and I started seeing discussions of \u003cem>Sexy Beasts \u003c/em>as soon as Netflix put the spot out there. And that makes sense, since it opens with a scene where a woman wearing a panda head talks to a man made up to look like a bull with Carrot Top’s hair.\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/IJO5m6EFL6A'\n title='//www.youtube.com/embed/IJO5m6EFL6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The woman with the panda head is concerned about whether Bull Who Is Also Carrot Top has health insurance. “Could you fall in love with someone based on personality alone?” asks the narrator, as we watch scenes of people who can see every part of each other’s bodies except for their heads.\u003c/p>\n\u003cp>“Ass first, personality second,” says a man dressed as, I’m going to say, a beaver (I’m so sorry) as he neatly renders the show pointless, given that the costumes do not obscure either the ass or the personality, meaning he can continue to prioritize them exactly as he did before.\u003c/p>\n\u003cp>You should not think that because this is a show in which everyone is dressed like a scarecrow or a dolphin (I think she’s a dolphin?) or a devil, that the people don’t have real feelings. “This is going to be really hard for me,” says the dolphin, presumably before she breaks the heart of … who knows, an owl or a mongoose or Frankenstein’s monster. (I want to stress that if you are a person who likes to dress up like an owl or Frankenstein’s monster as part of your chosen romantic life, this has nothing to do with you. This has to do with replacing your head with a bunny’s head as part of a bizarre experiment to see whether someone would still kiss you if you had a bunny’s head.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay, look. Not to torpedo the logic of a show where a panda goes on an axe-throwing date, but all these people are hot! If you want to find out whether hot people can fall in love while not being able to see each other’s heads, attend any Halloween party with high-quality masks. (There was a similar issue with \u003cem>Love is Blind, \u003c/em>a Netflix show from last year where attractive people flirted from separate rooms.) Has Netflix simply reinvented the elite masquerade ball? These are all conventionally attractive people (because you eventually do see them) who would do very well on a dating app called Eh, Personalities Are Overrated. They were all doing fine, most likely, in our regular world in which we all go out with our own heads on.\u003c/p>\n\u003cp>That said, I’m rooting for the dolphin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sexy Beasts arrives on Netflix on July 21. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sexy+Beasts%27+Is+Coming+To+Netflix%2C+And+We+Have+...+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Friends,' Ranked, From Ross to Best",
"headTitle": "The ‘Friends,’ Ranked, From Ross to Best | KQED",
"content": "\u003cp>Sometimes, suspense is overwhelming. Who would win that first season of \u003cem>Survivor\u003c/em>? Who would win the presidential election? Will the bread dough rise? Will it rain on your birthday party?\u003c/p>\n\u003cp>Suspense was not overwhelming when we asked our listeners to rank the friends of \u003cem>Friends \u003c/em>from best to worst, at least in one regard: We suspected Ross would come in last and be named Worst Friend. And it was true. Let’s talk about the way our listeners ranked the Friends, beginning with Ross and working our way up to your BFoFF—Best Friend on \u003cem>Friends \u003c/em>Forever.\u003c/p>\n\u003cp>[Just a note: As it turned out, these calculations weren’t complex. The ranking of who received the most votes for Best Friend was the exact opposite of the ranking of who received the most votes for Worst Friend. So Ross received both the most Worst Friend votes and the fewest Best Friend votes, and so on.]\u003c/p>\n\u003ch3>6. Ross\u003c/h3>\n\u003cp>[aside postid='pop_106765']Ross got very mopey over the show’s ten seasons, and he developed a temper at one point and started yelling at his co-workers, and he said Rachel’s name during his wedding to Emily, and it took him forever to stop resenting Susan for being married to Carol, and so forth and so on. But I must say, I was still impressed to see that Ross received 76 percent of the thousands of votes for Worst Friend that came in.\u003c/p>\n\u003cp>That’s so many! That means that if the other five Friends were statistically similar to our listeners, 3.8 of them would have thought he was the worst one in the group! Hopefully, Monica wouldn’t, since that’s his sister, so out of the four Friends he’s not related to, only .2 people—like, just Phoebe’s arm—picked anybody other than Ross as Worst Friend! Maybe he should have abandoned the \u003ca href=\"https://www.youtube.com/watch?v=n67RYI_0sc0&ab_channel=TheGodAccount\" target=\"_blank\" rel=\"noopener noreferrer\">Pivot Couch\u003c/a> earlier.\u003c/p>\n\u003cfigure id=\"attachment_13898884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg\" alt=\"A pregnant Rachel (Jennifer Aniston) lies in a hospital bed, with Ross (David Schwimmer) at her bedside..\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1920x1258.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) and Ross (David Schwimmer). \u003ccite>(Warner Bros. Television/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Rachel\u003c/h3>\n\u003cp>This one surprised me a little more! I grew to appreciate Rachel’s goofy sense of humor, but it’s true that in the beginning, she was presented as spoiled and self-interested, obsessed with shopping and buying and reluctant to abandon her father’s credit cards. Over time, I think Jennifer Aniston’s \u003ca href=\"https://www.youtube.com/watch?v=JYqAWNVHBwo\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat comic energy\u003c/a> gave Rachel a highly necessary jolt of strangeness, and I will never tire of her warm friendship with Joey, which led to such highlights as their exchanging their favorite books. Putting \u003cem>Little Women \u003c/em>in the freezer was maybe the most Joey thing to ever happen, and it was Rachel who understood best that he needed to do it.\u003c/p>\n\u003ch3>4. Monica\u003c/h3>\n\u003cp>I think Monica fell into a little bit of the TV writing problem in which competence, especially in women, is easily exaggerated until it becomes a kind of neurotic unpleasantness (the same thing happened to Rebecca, played by Kirstie Alley, on \u003cem>Cheers\u003c/em>). In the early going, Monica was the nurturer, the mom, the host, the adult. Over time, especially after she and Chandler were married (…spoiler alert?), she got kind of mean and critical in a different way I enjoyed a lot less. I think early Monica would have fared better if she hadn’t been saddled with the problems of later Monica, much as I think later Rachel would have done better in our vote without the limitations of early Rachel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Look, it’s just science.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8mQea59u5hA\u003c/p>\n\u003ch3>3. Joey\u003c/h3>\n\u003cp>Joey became, for my money, the big beating heart of this show by the time it ended. It absolutely didn’t have to be that way—he began as a kind of grody womanizer who had more hair than heart. But the sillier the character got, and the more they discovered Matt LeBlanc’s extraordinary \u003ca href=\"https://www.youtube.com/watch?v=3Nt9mS2j4Uc&ab_channel=GowthamRajBM\" target=\"_blank\" rel=\"noopener noreferrer\">talent for face-pulling\u003c/a>, the more Joey became a big lovable doofus who I prooooooobably would have ranked above Chandler, if it were up to me. He’s probably the character who changed for the better the most, and if I had to pick one of these people to actually know in real life, there’s a good chance I’d pick Joey. He has foolishness and insensitivity in him, but no meanness.\u003c/p>\n\u003ch3>2. Chandler\u003c/h3>\n\u003cp>I was nearly a contemporary of these characters, which means that when Chandler was a twentysomething sarcastic joke-maker who seemed a little allergic to sincerity, I was a twentysomething goober with a soft spot I couldn’t shake for sarcastic joke-makers who seemed a little allergic to sincerity. Chandler was my favorite in the early going, because I liked his jokes the best. But more and more, I’ve come to appreciate the perspective of Phoebe’s psychiatrist boyfriend, played by Fisher Stevens, who was presented as irredeemably annoying but who nailed Chandler’s personality when he said, “You’re so funny! I wouldn’t want to be there when the laughter stops.” Chandler’s position here, near the top, is probably a product of his sharp wit and the degree to which his sense of humor came to define the show’s voice, in spite of what I would argue was eventually his exhausting and relentless funny-guy neediness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pDqE2MZiXCY\u003c/p>\n\u003ch3>1. Phoebe\u003c/h3>\n\u003cp>[aside postid='arts_13897888']Of course it’s Phoebe! Phoebe didn’t nail down Best Friend with quite the emphatic stomping that Ross nailed down Worst Friend; she received 50 percent of the vote for Best Friend. But given that there are six Friends to choose from, it’s still a clear and resounding victory. Phoebe was always the gentlest and the nicest of these people, despite what had been a tough upbringing and a lot of pain. She found love with a couple of different lovely partners, including Hank Azaria’s David and then Paul Rudd’s wonderful Mike Hannigan, and nobody deserved true happiness more. She carried triplets for her brother, she played the guitar, and she would do anything she could for any of these goofballs, even when they were ridiculous. What’s not to love?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel includes Barrie Hardymon, Sam Sanders, and Bedatri D. Choudhury. The audio was produced by Jared M. Gair, and edited by Jessica Reedy. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+%27Friends%2C%27+Ranked%2C+From+Ross+To+Best&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "After the recent 'Friends' reunion on HBO Max, NPR asked you: Who's the best friend? Who's the worst friend? The results are in! ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, suspense is overwhelming. Who would win that first season of \u003cem>Survivor\u003c/em>? Who would win the presidential election? Will the bread dough rise? Will it rain on your birthday party?\u003c/p>\n\u003cp>Suspense was not overwhelming when we asked our listeners to rank the friends of \u003cem>Friends \u003c/em>from best to worst, at least in one regard: We suspected Ross would come in last and be named Worst Friend. And it was true. Let’s talk about the way our listeners ranked the Friends, beginning with Ross and working our way up to your BFoFF—Best Friend on \u003cem>Friends \u003c/em>Forever.\u003c/p>\n\u003cp>[Just a note: As it turned out, these calculations weren’t complex. The ranking of who received the most votes for Best Friend was the exact opposite of the ranking of who received the most votes for Worst Friend. So Ross received both the most Worst Friend votes and the fewest Best Friend votes, and so on.]\u003c/p>\n\u003ch3>6. Ross\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ross got very mopey over the show’s ten seasons, and he developed a temper at one point and started yelling at his co-workers, and he said Rachel’s name during his wedding to Emily, and it took him forever to stop resenting Susan for being married to Carol, and so forth and so on. But I must say, I was still impressed to see that Ross received 76 percent of the thousands of votes for Worst Friend that came in.\u003c/p>\n\u003cp>That’s so many! That means that if the other five Friends were statistically similar to our listeners, 3.8 of them would have thought he was the worst one in the group! Hopefully, Monica wouldn’t, since that’s his sister, so out of the four Friends he’s not related to, only .2 people—like, just Phoebe’s arm—picked anybody other than Ross as Worst Friend! Maybe he should have abandoned the \u003ca href=\"https://www.youtube.com/watch?v=n67RYI_0sc0&ab_channel=TheGodAccount\" target=\"_blank\" rel=\"noopener noreferrer\">Pivot Couch\u003c/a> earlier.\u003c/p>\n\u003cfigure id=\"attachment_13898884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg\" alt=\"A pregnant Rachel (Jennifer Aniston) lies in a hospital bed, with Ross (David Schwimmer) at her bedside..\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1920x1258.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) and Ross (David Schwimmer). \u003ccite>(Warner Bros. Television/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Rachel\u003c/h3>\n\u003cp>This one surprised me a little more! I grew to appreciate Rachel’s goofy sense of humor, but it’s true that in the beginning, she was presented as spoiled and self-interested, obsessed with shopping and buying and reluctant to abandon her father’s credit cards. Over time, I think Jennifer Aniston’s \u003ca href=\"https://www.youtube.com/watch?v=JYqAWNVHBwo\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat comic energy\u003c/a> gave Rachel a highly necessary jolt of strangeness, and I will never tire of her warm friendship with Joey, which led to such highlights as their exchanging their favorite books. Putting \u003cem>Little Women \u003c/em>in the freezer was maybe the most Joey thing to ever happen, and it was Rachel who understood best that he needed to do it.\u003c/p>\n\u003ch3>4. Monica\u003c/h3>\n\u003cp>I think Monica fell into a little bit of the TV writing problem in which competence, especially in women, is easily exaggerated until it becomes a kind of neurotic unpleasantness (the same thing happened to Rebecca, played by Kirstie Alley, on \u003cem>Cheers\u003c/em>). In the early going, Monica was the nurturer, the mom, the host, the adult. Over time, especially after she and Chandler were married (…spoiler alert?), she got kind of mean and critical in a different way I enjoyed a lot less. I think early Monica would have fared better if she hadn’t been saddled with the problems of later Monica, much as I think later Rachel would have done better in our vote without the limitations of early Rachel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Look, it’s just science.\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/8mQea59u5hA'\n title='//www.youtube.com/embed/8mQea59u5hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>3. Joey\u003c/h3>\n\u003cp>Joey became, for my money, the big beating heart of this show by the time it ended. It absolutely didn’t have to be that way—he began as a kind of grody womanizer who had more hair than heart. But the sillier the character got, and the more they discovered Matt LeBlanc’s extraordinary \u003ca href=\"https://www.youtube.com/watch?v=3Nt9mS2j4Uc&ab_channel=GowthamRajBM\" target=\"_blank\" rel=\"noopener noreferrer\">talent for face-pulling\u003c/a>, the more Joey became a big lovable doofus who I prooooooobably would have ranked above Chandler, if it were up to me. He’s probably the character who changed for the better the most, and if I had to pick one of these people to actually know in real life, there’s a good chance I’d pick Joey. He has foolishness and insensitivity in him, but no meanness.\u003c/p>\n\u003ch3>2. Chandler\u003c/h3>\n\u003cp>I was nearly a contemporary of these characters, which means that when Chandler was a twentysomething sarcastic joke-maker who seemed a little allergic to sincerity, I was a twentysomething goober with a soft spot I couldn’t shake for sarcastic joke-makers who seemed a little allergic to sincerity. Chandler was my favorite in the early going, because I liked his jokes the best. But more and more, I’ve come to appreciate the perspective of Phoebe’s psychiatrist boyfriend, played by Fisher Stevens, who was presented as irredeemably annoying but who nailed Chandler’s personality when he said, “You’re so funny! I wouldn’t want to be there when the laughter stops.” Chandler’s position here, near the top, is probably a product of his sharp wit and the degree to which his sense of humor came to define the show’s voice, in spite of what I would argue was eventually his exhausting and relentless funny-guy neediness.\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/pDqE2MZiXCY'\n title='//www.youtube.com/embed/pDqE2MZiXCY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1. Phoebe\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course it’s Phoebe! Phoebe didn’t nail down Best Friend with quite the emphatic stomping that Ross nailed down Worst Friend; she received 50 percent of the vote for Best Friend. But given that there are six Friends to choose from, it’s still a clear and resounding victory. Phoebe was always the gentlest and the nicest of these people, despite what had been a tough upbringing and a lot of pain. She found love with a couple of different lovely partners, including Hank Azaria’s David and then Paul Rudd’s wonderful Mike Hannigan, and nobody deserved true happiness more. She carried triplets for her brother, she played the guitar, and she would do anything she could for any of these goofballs, even when they were ridiculous. What’s not to love?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel includes Barrie Hardymon, Sam Sanders, and Bedatri D. Choudhury. The audio was produced by Jared M. Gair, and edited by Jessica Reedy. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+%27Friends%2C%27+Ranked%2C+From+Ross+To+Best&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Keeping Up With the Kardashians’ is Finally Over—But the GIFs Will Live Forever",
"headTitle": "‘Keeping Up With the Kardashians’ is Finally Over—But the GIFs Will Live Forever | KQED",
"content": "\u003cp>It only took 14 years, 20 seasons and 280 episodes, but \u003cem>Keeping Up With the Kardashians\u003c/em> is finally—\u003cem>finally!\u003c/em>—over. The last episode rolls out June 10 and then we never, ever have to see them ever again. Just kidding. The family has already made a deal with Disney to make “\u003ca href=\"https://www.npr.org/2021/06/10/1004840905/kardashians-end-show-move-to-disney-and-hulu\" target=\"_blank\" rel=\"noopener noreferrer\">new global content\u003c/a>,” whatever that means. (Based on current projections, probably \u003ca href=\"https://www.instagram.com/p/COJPXF9Fbzu/\" target=\"_blank\" rel=\"noopener noreferrer\">Kourtney dry-humping Travis Barker\u003c/a> on a beach somewhere? Or perhaps \u003ca href=\"https://www.instagram.com/p/CPBKkceN2vq/\" target=\"_blank\" rel=\"noopener noreferrer\">Khloé showing us her stomach\u003c/a> next to the seven wonders of the world? Could be just about anything, as long as the end result is \u003cem>utterly meaningless\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='pop_95657']Whatever your feelings about the Kardashian-Jenners, one thing is for sure. Their stupid reality show—and all of the even more stupid spin-offs it spawned (did you forget about \u003ca href=\"https://en.wikipedia.org/wiki/Kourtney_and_Kim_Take_New_York\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kourtney and Kim Take New York\u003c/em>\u003c/a> and *checks notes* \u003ca href=\"https://en.wikipedia.org/wiki/Dash_Dolls\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dash Dolls\u003c/em>\u003c/a> already?)—have provided the internet with some of the greatest GIFs of all time. Here now, for your perplexed amusement, we have compiled some of the best. May the world use them in perpetuity as a reflection of everything that’s wrong with us as a society. Including, but not limited to:\u003c/p>\n\u003cp>Selfish siblings!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898676 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/keeping-up-with-the-kardashians-jail.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Really, really, \u003cem>really\u003c/em> supportive moms!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898677 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/youre-doing-amazin-sweetie.gif\" alt=\"\" width=\"500\" height=\"369\">\u003c/p>\n\u003cp>Sentient lip gloss!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898678 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/someone-I-really-want-you-meet-I-think-youll-hit-off.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Inappropriate grandmas!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898682 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/VMmj.gif\" alt=\"\" width=\"398\" height=\"225\">\u003c/p>\n\u003cp>The casually depressed!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898680 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Sentient Brazilian Blowouts!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898698 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/5d28b89ba21b3776b9573bf3bf50ba87.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898699 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_n0q273PkkF1toieuwo1_500-anim.gif\" alt=\"\" width=\"500\" height=\"260\">\u003c/p>\n\u003cp>Coachella wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898687 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ClumsySimpleAnkolewatusi-max-1mb.gif\" alt=\"\" width=\"256\" height=\"320\">\u003c/p>\n\u003cp>Super rich wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898683 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/rs_500x375-150312155502-Best-Room-That-They-Have.gif\" alt=\"\" width=\"500\" height=\"375\">\u003c/p>\n\u003cp>Wisdomous wisdomers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898686 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/v_H436.gif\" alt=\"\" width=\"400\" height=\"168\">\u003c/p>\n\u003cp>Pragmatists!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898702 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-2.gif\" alt=\"\" width=\"250\" height=\"250\">\u003c/p>\n\u003cp>Name-droppers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898701 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1-1.gif\" alt=\"\" width=\"500\" height=\"275\">\u003c/p>\n\u003cp>Sentient false eyelashes!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898681 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/AjarTerribleBlueshark-max-1mb.gif\" alt=\"\" width=\"340\" height=\"191\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898692 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_mk9oflh5nC1rnu3rro1_400.gif\" alt=\"\" width=\"400\" height=\"224\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898696 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_m7pvv1QDBt1rbe3suo1_500.gif\" alt=\"\" width=\"500\" height=\"273\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898693 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tenor.gif\" alt=\"\" width=\"498\" height=\"280\">\u003c/p>\n\u003cp>And most legendarily of all… ugly criers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898679 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy.gif\" alt=\"\" width=\"400\" height=\"225\">\u003c/p>\n\u003cp>You can dig up that last one when the Disney show launches.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It only took 14 years, 20 seasons and 280 episodes, but \u003cem>Keeping Up With the Kardashians\u003c/em> is finally—\u003cem>finally!\u003c/em>—over. The last episode rolls out June 10 and then we never, ever have to see them ever again. Just kidding. The family has already made a deal with Disney to make “\u003ca href=\"https://www.npr.org/2021/06/10/1004840905/kardashians-end-show-move-to-disney-and-hulu\" target=\"_blank\" rel=\"noopener noreferrer\">new global content\u003c/a>,” whatever that means. (Based on current projections, probably \u003ca href=\"https://www.instagram.com/p/COJPXF9Fbzu/\" target=\"_blank\" rel=\"noopener noreferrer\">Kourtney dry-humping Travis Barker\u003c/a> on a beach somewhere? Or perhaps \u003ca href=\"https://www.instagram.com/p/CPBKkceN2vq/\" target=\"_blank\" rel=\"noopener noreferrer\">Khloé showing us her stomach\u003c/a> next to the seven wonders of the world? Could be just about anything, as long as the end result is \u003cem>utterly meaningless\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whatever your feelings about the Kardashian-Jenners, one thing is for sure. Their stupid reality show—and all of the even more stupid spin-offs it spawned (did you forget about \u003ca href=\"https://en.wikipedia.org/wiki/Kourtney_and_Kim_Take_New_York\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kourtney and Kim Take New York\u003c/em>\u003c/a> and *checks notes* \u003ca href=\"https://en.wikipedia.org/wiki/Dash_Dolls\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dash Dolls\u003c/em>\u003c/a> already?)—have provided the internet with some of the greatest GIFs of all time. Here now, for your perplexed amusement, we have compiled some of the best. May the world use them in perpetuity as a reflection of everything that’s wrong with us as a society. Including, but not limited to:\u003c/p>\n\u003cp>Selfish siblings!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898676 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/keeping-up-with-the-kardashians-jail.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Really, really, \u003cem>really\u003c/em> supportive moms!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898677 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/youre-doing-amazin-sweetie.gif\" alt=\"\" width=\"500\" height=\"369\">\u003c/p>\n\u003cp>Sentient lip gloss!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898678 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/someone-I-really-want-you-meet-I-think-youll-hit-off.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Inappropriate grandmas!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898682 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/VMmj.gif\" alt=\"\" width=\"398\" height=\"225\">\u003c/p>\n\u003cp>The casually depressed!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898680 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Sentient Brazilian Blowouts!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898698 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/5d28b89ba21b3776b9573bf3bf50ba87.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898699 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_n0q273PkkF1toieuwo1_500-anim.gif\" alt=\"\" width=\"500\" height=\"260\">\u003c/p>\n\u003cp>Coachella wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898687 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ClumsySimpleAnkolewatusi-max-1mb.gif\" alt=\"\" width=\"256\" height=\"320\">\u003c/p>\n\u003cp>Super rich wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898683 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/rs_500x375-150312155502-Best-Room-That-They-Have.gif\" alt=\"\" width=\"500\" height=\"375\">\u003c/p>\n\u003cp>Wisdomous wisdomers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898686 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/v_H436.gif\" alt=\"\" width=\"400\" height=\"168\">\u003c/p>\n\u003cp>Pragmatists!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898702 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-2.gif\" alt=\"\" width=\"250\" height=\"250\">\u003c/p>\n\u003cp>Name-droppers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898701 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1-1.gif\" alt=\"\" width=\"500\" height=\"275\">\u003c/p>\n\u003cp>Sentient false eyelashes!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898681 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/AjarTerribleBlueshark-max-1mb.gif\" alt=\"\" width=\"340\" height=\"191\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898692 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_mk9oflh5nC1rnu3rro1_400.gif\" alt=\"\" width=\"400\" height=\"224\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898696 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_m7pvv1QDBt1rbe3suo1_500.gif\" alt=\"\" width=\"500\" height=\"273\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898693 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tenor.gif\" alt=\"\" width=\"498\" height=\"280\">\u003c/p>\n\u003cp>And most legendarily of all… ugly criers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898679 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy.gif\" alt=\"\" width=\"400\" height=\"225\">\u003c/p>\n\u003cp>You can dig up that last one when the Disney show launches.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Bachelor' Host Chris Harrison Exits Franchise After 'Woke Police' Controversy",
"headTitle": "‘The Bachelor’ Host Chris Harrison Exits Franchise After ‘Woke Police’ Controversy | KQED",
"content": "\u003cp>In nearly twenty years hosting the different dating series in \u003cem>The Bachelor \u003c/em>franchise, host Chris Harrison has handled everything from confronting rule-breaking contestants to chasing down \u003cem>Bachelor\u003c/em> star \u003ca href=\"https://www.kqed.org/arts/13895730\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Underwood\u003c/a> after he hopped a fence and tried to quit the show.\u003c/p>\n\u003cp>But today it is Harrison who is leaving. ABC and producers of \u003cem>The Bachelor\u003c/em> and its spin offs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise,\u003c/em> have confirmed that the host is gone for good after fumbling a race-related controversy from the mothership program.\u003c/p>\n\u003cp>ABC Entertainment and Warner Horizon, the show’s distributor and producer, acknowledged Harrison’s departure today in a terse joint statement: “Chris Harrison is stepping aside as host of \u003cem>The Bachelor\u003c/em> franchise. We are thankful for his many contributions over the past 20 years and wish him all the best on his new journey.”\u003c/p>\n\u003cp>[aside postid='arts_13893077']Harrison, 49, issued a more optimistic statement on his Instagram page, noting “I’ve had a truly incredible run as host of \u003cem>The Bachelor\u003c/em> franchise and now I’m excited to start a new chapter. I’m so grateful to Bachelor Nation for all of the memories we’ve made together. While my two-decade journey is wrapping up, the friendships I’ve made will last a lifetime.”\u003c/p>\n\u003cp>Representatives from ABC, Warner Horizon and Harrison did not otherwise respond to requests for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The website Deadline \u003ca href=\"https://deadline.com/2021/06/chris-harrison-leaving-the-bachelor-franchise-controversy-1234771200\" target=\"_blank\" rel=\"noopener noreferrer\">reported Harrison’s ouster\u003c/a>, saying it came after intense negotiations culminating in a “midrange, eight-figure payoff” which would ensure the former host said little about the issue after the news was released.\u003c/p>\n\u003cp>Harrison has hosted \u003cem>The Bachelor\u003c/em> and its spinoff shows since the series debuted in 2002. But he was sidelined in February, \u003ca href=\"https://www.youtube.com/watch?v=9hmY1gSAuRk\" target=\"_blank\" rel=\"noopener noreferrer\">after an interview\u003c/a> where he downplayed the significance of news that contestant Rachael Kirkconnell had once attended a party themed around the antebellum South, a period when slavery still existed.\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> was featuring its first Black star, Matt James. As the news about Kirkconnell spread, fans questioned whether the series had vetted its white contestants well enough to exclude contestants with racist issues in their past.\u003c/p>\n\u003cp>[aside postid='arts_13894064']But Harrison derisively dubbed Kirkconnell’s critics the “woke police,” until a widespread backlash led him to issue an apology and step away from his hosting duties. “What I now realize I have done is cause harm by wrongly speaking in a manner that perpetuates racism and for that I am so deeply sorry,” he said in one of two apologies \u003ca href=\"https://www.instagram.com/p/CLIjt2IgzOo/\" target=\"_blank\" rel=\"noopener noreferrer\">posted on Instagram\u003c/a>.\u003c/p>\n\u003cp>His initial comments were seen as emblematic of the show’s ongoing \u003ca href=\"https://www.npr.org/2021/03/16/977841254/the-bachelors-cluelessness-about-race-comes-to-a-head-in-season-finale\" target=\"_blank\" rel=\"noopener noreferrer\">cluelessness about diversity\u003c/a> issues, as it struggled to feature non-white stars and respect their perspectives.\u003c/p>\n\u003cp>And the controversy over Kirkconnell—who James had picked as the season’s winner during episodes pre-taped last year—eventually overshadowed the season finale in March. James wound up rejecting Kirkconnell during the program’s \u003cem>After the Rose\u003c/em> special, which was hosted by former NFL player and author Emmanuel Acho. (he has since told \u003cem>People\u003c/em> magazine he is once again “\u003ca href=\"https://people.com/tv/matt-james-says-hes-pursuing-a-relationship-with-rachael-kirkconnell-focusing-on-it/\" target=\"_blank\" rel=\"noopener noreferrer\">pursuing a relationship\u003c/a>” with her.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harrison’s departure was initially characterized as a temporary stepping aside. But news that former \u003cem>Bachelorett\u003c/em>e stars Tayshia Adams and Kaitlyn Bristowe would host the edition of \u003cem>The Bachelorette\u003c/em> that debuted Monday (and that guest hosts, including comic David Spade, \u003ca href=\"https://people.com/tv/david-spade-guest-host-bachelor-in-paradise-amid-chris-harrison-break-from-franchise-source/\" target=\"_blank\" rel=\"noopener noreferrer\">would lead this year’s edition\u003c/a> of \u003cem>Bachelor in Paradise\u003c/em>) led to speculation about his long-term future with the franchise.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelor%27+Host+Chris+Harrison+Exits+Franchise+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In nearly twenty years hosting the different dating series in \u003cem>The Bachelor \u003c/em>franchise, host Chris Harrison has handled everything from confronting rule-breaking contestants to chasing down \u003cem>Bachelor\u003c/em> star \u003ca href=\"https://www.kqed.org/arts/13895730\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Underwood\u003c/a> after he hopped a fence and tried to quit the show.\u003c/p>\n\u003cp>But today it is Harrison who is leaving. ABC and producers of \u003cem>The Bachelor\u003c/em> and its spin offs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise,\u003c/em> have confirmed that the host is gone for good after fumbling a race-related controversy from the mothership program.\u003c/p>\n\u003cp>ABC Entertainment and Warner Horizon, the show’s distributor and producer, acknowledged Harrison’s departure today in a terse joint statement: “Chris Harrison is stepping aside as host of \u003cem>The Bachelor\u003c/em> franchise. We are thankful for his many contributions over the past 20 years and wish him all the best on his new journey.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison, 49, issued a more optimistic statement on his Instagram page, noting “I’ve had a truly incredible run as host of \u003cem>The Bachelor\u003c/em> franchise and now I’m excited to start a new chapter. I’m so grateful to Bachelor Nation for all of the memories we’ve made together. While my two-decade journey is wrapping up, the friendships I’ve made will last a lifetime.”\u003c/p>\n\u003cp>Representatives from ABC, Warner Horizon and Harrison did not otherwise respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Harrison derisively dubbed Kirkconnell’s critics the “woke police,” until a widespread backlash led him to issue an apology and step away from his hosting duties. “What I now realize I have done is cause harm by wrongly speaking in a manner that perpetuates racism and for that I am so deeply sorry,” he said in one of two apologies \u003ca href=\"https://www.instagram.com/p/CLIjt2IgzOo/\" target=\"_blank\" rel=\"noopener noreferrer\">posted on Instagram\u003c/a>.\u003c/p>\n\u003cp>His initial comments were seen as emblematic of the show’s ongoing \u003ca href=\"https://www.npr.org/2021/03/16/977841254/the-bachelors-cluelessness-about-race-comes-to-a-head-in-season-finale\" target=\"_blank\" rel=\"noopener noreferrer\">cluelessness about diversity\u003c/a> issues, as it struggled to feature non-white stars and respect their perspectives.\u003c/p>\n\u003cp>And the controversy over Kirkconnell—who James had picked as the season’s winner during episodes pre-taped last year—eventually overshadowed the season finale in March. James wound up rejecting Kirkconnell during the program’s \u003cem>After the Rose\u003c/em> special, which was hosted by former NFL player and author Emmanuel Acho. (he has since told \u003cem>People\u003c/em> magazine he is once again “\u003ca href=\"https://people.com/tv/matt-james-says-hes-pursuing-a-relationship-with-rachael-kirkconnell-focusing-on-it/\" target=\"_blank\" rel=\"noopener noreferrer\">pursuing a relationship\u003c/a>” with her.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harrison’s departure was initially characterized as a temporary stepping aside. But news that former \u003cem>Bachelorett\u003c/em>e stars Tayshia Adams and Kaitlyn Bristowe would host the edition of \u003cem>The Bachelorette\u003c/em> that debuted Monday (and that guest hosts, including comic David Spade, \u003ca href=\"https://people.com/tv/david-spade-guest-host-bachelor-in-paradise-amid-chris-harrison-break-from-franchise-source/\" target=\"_blank\" rel=\"noopener noreferrer\">would lead this year’s edition\u003c/a> of \u003cem>Bachelor in Paradise\u003c/em>) led to speculation about his long-term future with the franchise.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelor%27+Host+Chris+Harrison+Exits+Franchise+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"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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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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},
"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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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