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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She was speaking with NBA star LeBron James’ longtime adviser Adam Mendelsohn and James’ agent Rich Paul.\u003c/p>\n\u003cp>Nichols \u003ca href=\"https://www.npr.org/2021/07/07/1013898738/espn-reporter-rachel-nichols-has-been-removed-after-her-phone-conversation-leak\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> from her assignment after the comments became public.\u003c/p>\n\u003cp>She later apologized on the show \u003cem>The Jump\u003c/em>, saying she respected her ESPN colleagues and noting that she was “deeply, deeply sorry” for “disappointing those I hurt, particularly Maria Taylor.”\u003c/p>\n\u003cp>Taylor left ESPN shortly after the comments were revealed, in part over failed salary negotiations. She joined the team at NBC Sports just in time for the \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">Tokyo Olympics\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After Taylor reportedly requested $8 million pay last year to be in line with some of ESPN’s highest-paid personalities, the network offered her approximately $5 million, which she rejected.\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=Rachel+Nichols%27+ESPN+Show+Is+Canceled+After+Her+Comments+About+Maria+Taylor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What is a Fiasco? Mike Richards Will Not Host 'Jeopardy!'",
"headTitle": "What is a Fiasco? Mike Richards Will Not Host ‘Jeopardy!’ | KQED",
"content": "\u003cp>Exactly a week ago, we gathered in this same internet space to discuss what a \u003ca href=\"https://www.npr.org/2021/08/13/1027426388/jeopardy-host-mike-richards\" target=\"_blank\" rel=\"noopener noreferrer\">complete mess had been made\u003c/a> of the search for a host to succeed Alex Trebek on \u003cem>Jeopardy! \u003c/em>After months of guest-host stints that were received as tryouts but were perhaps not tryouts after all, executive producer Mike Richards was announced as the next host. There were a lot of very carefully worded descriptions of said messy process, as it certainly wouldn’t have been Richards alone who chose the next host. But the undercurrent of a lot of the public reaction was not that different from what it would have been if the headlines had just said, “Man Looks Far And Wide To Find Perfect Candidate For Coveted Job: Self.”\u003c/p>\n\u003cp>But now, a different headline: “Man Quits Job, Keeps Job In Which He Gave Himself That Job.”\u003c/p>\n\u003cp>Richards \u003ca href=\"https://www.npr.org/2021/08/20/1029650746/jeopardy-host-mike-richards-steps-down\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down from the days-old hosting gig\u003c/a> in a note on Friday morning, saying that it was clear to him that he would be “a distraction” as a host. He apologized not for any of his behavior, but for the “unwanted negative attention” that the show had experienced, and the “confusion and delays” that the shuffle was creating. He apparently intends to stay on as the boss.\u003c/p>\n\u003cp>[aside postid='pop_96696']It was a fittingly sloppy end to this effort. From the moment Richards was announced, the whole thing had been called out as disingenuous, sketchy, shady, whatever words you prefer—even for a lot of people who thought Richards had been a good guest host substantively, the process left a bad taste.\u003c/p>\n\u003cp>And then came the \u003ca href=\"https://variety.com/2021/tv/news/mike-richards-jeopardy-price-is-right-lawsuit-1235037434/\" target=\"_blank\" rel=\"noopener noreferrer\">discussions of past discrimination lawsuits\u003c/a> at \u003cem>The Price Is Right\u003c/em>, the show where he used to work (uh-oh!), even though Richards assured everyone that “the way in which my comments and actions have been characterized in these complaints does not reflect the reality of who I am or how we worked together on \u003cem>The Price Is Right\u003c/em>.” Okay, then! Doesn’t reflect the reality of who you are, doesn’t reflect how you work? Everything’s fine! Maybe this would do it, as far as tamping down the criticism?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was not to be. Claire McNear’s reporting at \u003cem>The Ringer\u003c/em>, in particular, \u003ca href=\"https://www.theringer.com/tv/2021/8/18/22631299/mike-richards-jeopardy-host-search-process-past-comments\" target=\"_blank\" rel=\"noopener noreferrer\">kept coming\u003c/a>. She talked to more people about Richards as a producer, and she found old episodes from a \u003cem>The Price Is Right\u003c/em> behind-the-scenes podcast literally called \u003cem>The Randumb Show.\u003c/em> (My friends… I beg you, don’t call your work-related podcast that). In that show, Richards made a variety of remarks about women and their bodies and how they dress—he refers to his own co-host’s past modeling work being a “booth slut” and “booth ho.” This was in 2013-14, \u003cem>after \u003c/em>the lawsuits in which models claimed the environment at \u003cem>The Price Is Right\u003c/em> was harassing and discriminatory. So when \u003ca href=\"https://variety.com/2021/tv/news/jeopardy-mike-richards-host-producer-podcast-1235044209/\" target=\"_blank\" rel=\"noopener noreferrer\">he said later\u003c/a> that he now realizes how unacceptable those comments were, it was hard not to wonder how having seen his show sued over its treatment of models wasn’t adequate to suggest to him that he should pull back from calling his co-host a “booth slut.”\u003c/p>\n\u003cp>These remarks also happened on episodes that McNear says were pulled off the internet and their hosting site deleted after \u003cem>The Ringer\u003c/em> asked about them. In a sequence of events already plagued by bad optics, this was… well, it was more bad optics.\u003c/p>\n\u003cp>Fast-forward a couple of days, and his time as host (or pre-host, or putative host, or host-in-waiting) is over.\u003c/p>\n\u003cp>It’s temping to take this apart piece by piece, isolate the individual bits of information that seemed to put this situation over the top. But really, why? This went in a maddeningly predictable way. It was like watching a rubber ball bounce down a flight of stairs: isolated parts of the trajectory might be surprising, but the end result was always going to be the same. This was always a bad idea, and it got worse, and they dug in their heels and tried to ride it out, and it got worse again, and now it’s over. It’s an utterly unforced error from a show that had every opportunity to find someone who would not have had to resign, \u003cem>as the putative host of \u003c/em>Jeopardy! \u003cem>for crying out loud\u003c/em>, for being too controversial.\u003c/p>\n\u003cp>Two questions remain.\u003c/p>\n\u003cp>First, in a world in which every choice like this is scrutinized, was Claire McNear really the first person to raise questions about that podcast? Why wouldn’t there be someone involved in the process whose job it was, given the fact that there had been lawsuits directed at \u003cem>The Price Is Right \u003c/em>during his tenure, to listen to what he was saying about the show while he was working on it? It’s true that you can’t vet everything, but it’s also true that if a guy wants to make a show about work called \u003cem>The Randumb Show\u003c/em>, you might want to send an intern over to transcribe a couple episodes for you, just to make sure it’s not this. Did they do it and hope it wouldn’t come out, or did they not do it at all?\u003c/p>\n\u003cp>[aside postid='arts_13901062']And second, how does Richards continue in his producing role? However unfair he likely finds it, the story of his Extremely Loud And Incredibly Short tenure as the host of one of the calmest and most dignified syndicated shows on television is going to be that he gave himself the job and then had to bail after he got caught calling women “slut” and “ho” on a podcast that, again, was made behind the scenes of a show where \u003cem>he was managing people\u003c/em>.\u003c/p>\n\u003cp>Is it the intent that he would now oversee a new host selection process? That he would be the person a candidate would sit down with, who would say, “What do you think makes you right for this job?” And that this candidate would have to resist saying, “I have never made a podcast with ‘dumb’ in the title at any of my workplaces?”\u003c/p>\n\u003cp>If anything, you can argue that it’s more pressing that Richards be relieved of the EP job than of the hosting job, and that the only reason he’d leave the latter and not the former is that he’s leaving the one that draws more attention and thus more fire. The substantive problem with these remarks is not that he was somehow going to make them on the air on \u003cem>Jeopardy! \u003c/em>in his capacity as host, since he probably wasn’t going to call anyone a slut while calling on her during the Daily Double. The substantive problem with these remarks is the attitude they convey, and in the context of management jobs, the environment they could create for employees.\u003c/p>\n\u003cp>It comes down, honestly, to this: How do you leave someone in charge of your show who opened with a catastrophic handling of the biggest possible executive producing task, apparently to his own benefit? And how do you make someone the boss who didn’t meet the character requirements to be the host?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stay tuned. Perhaps the implosion isn’t even over.\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+Is+A+Fiasco%3F+Mike+Richards+Will+Not+Host+%27Jeopardy%21%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exactly a week ago, we gathered in this same internet space to discuss what a \u003ca href=\"https://www.npr.org/2021/08/13/1027426388/jeopardy-host-mike-richards\" target=\"_blank\" rel=\"noopener noreferrer\">complete mess had been made\u003c/a> of the search for a host to succeed Alex Trebek on \u003cem>Jeopardy! \u003c/em>After months of guest-host stints that were received as tryouts but were perhaps not tryouts after all, executive producer Mike Richards was announced as the next host. There were a lot of very carefully worded descriptions of said messy process, as it certainly wouldn’t have been Richards alone who chose the next host. But the undercurrent of a lot of the public reaction was not that different from what it would have been if the headlines had just said, “Man Looks Far And Wide To Find Perfect Candidate For Coveted Job: Self.”\u003c/p>\n\u003cp>But now, a different headline: “Man Quits Job, Keeps Job In Which He Gave Himself That Job.”\u003c/p>\n\u003cp>Richards \u003ca href=\"https://www.npr.org/2021/08/20/1029650746/jeopardy-host-mike-richards-steps-down\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down from the days-old hosting gig\u003c/a> in a note on Friday morning, saying that it was clear to him that he would be “a distraction” as a host. He apologized not for any of his behavior, but for the “unwanted negative attention” that the show had experienced, and the “confusion and delays” that the shuffle was creating. He apparently intends to stay on as the boss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was a fittingly sloppy end to this effort. From the moment Richards was announced, the whole thing had been called out as disingenuous, sketchy, shady, whatever words you prefer—even for a lot of people who thought Richards had been a good guest host substantively, the process left a bad taste.\u003c/p>\n\u003cp>And then came the \u003ca href=\"https://variety.com/2021/tv/news/mike-richards-jeopardy-price-is-right-lawsuit-1235037434/\" target=\"_blank\" rel=\"noopener noreferrer\">discussions of past discrimination lawsuits\u003c/a> at \u003cem>The Price Is Right\u003c/em>, the show where he used to work (uh-oh!), even though Richards assured everyone that “the way in which my comments and actions have been characterized in these complaints does not reflect the reality of who I am or how we worked together on \u003cem>The Price Is Right\u003c/em>.” Okay, then! Doesn’t reflect the reality of who you are, doesn’t reflect how you work? Everything’s fine! Maybe this would do it, as far as tamping down the criticism?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not to be. Claire McNear’s reporting at \u003cem>The Ringer\u003c/em>, in particular, \u003ca href=\"https://www.theringer.com/tv/2021/8/18/22631299/mike-richards-jeopardy-host-search-process-past-comments\" target=\"_blank\" rel=\"noopener noreferrer\">kept coming\u003c/a>. She talked to more people about Richards as a producer, and she found old episodes from a \u003cem>The Price Is Right\u003c/em> behind-the-scenes podcast literally called \u003cem>The Randumb Show.\u003c/em> (My friends… I beg you, don’t call your work-related podcast that). In that show, Richards made a variety of remarks about women and their bodies and how they dress—he refers to his own co-host’s past modeling work being a “booth slut” and “booth ho.” This was in 2013-14, \u003cem>after \u003c/em>the lawsuits in which models claimed the environment at \u003cem>The Price Is Right\u003c/em> was harassing and discriminatory. So when \u003ca href=\"https://variety.com/2021/tv/news/jeopardy-mike-richards-host-producer-podcast-1235044209/\" target=\"_blank\" rel=\"noopener noreferrer\">he said later\u003c/a> that he now realizes how unacceptable those comments were, it was hard not to wonder how having seen his show sued over its treatment of models wasn’t adequate to suggest to him that he should pull back from calling his co-host a “booth slut.”\u003c/p>\n\u003cp>These remarks also happened on episodes that McNear says were pulled off the internet and their hosting site deleted after \u003cem>The Ringer\u003c/em> asked about them. In a sequence of events already plagued by bad optics, this was… well, it was more bad optics.\u003c/p>\n\u003cp>Fast-forward a couple of days, and his time as host (or pre-host, or putative host, or host-in-waiting) is over.\u003c/p>\n\u003cp>It’s temping to take this apart piece by piece, isolate the individual bits of information that seemed to put this situation over the top. But really, why? This went in a maddeningly predictable way. It was like watching a rubber ball bounce down a flight of stairs: isolated parts of the trajectory might be surprising, but the end result was always going to be the same. This was always a bad idea, and it got worse, and they dug in their heels and tried to ride it out, and it got worse again, and now it’s over. It’s an utterly unforced error from a show that had every opportunity to find someone who would not have had to resign, \u003cem>as the putative host of \u003c/em>Jeopardy! \u003cem>for crying out loud\u003c/em>, for being too controversial.\u003c/p>\n\u003cp>Two questions remain.\u003c/p>\n\u003cp>First, in a world in which every choice like this is scrutinized, was Claire McNear really the first person to raise questions about that podcast? Why wouldn’t there be someone involved in the process whose job it was, given the fact that there had been lawsuits directed at \u003cem>The Price Is Right \u003c/em>during his tenure, to listen to what he was saying about the show while he was working on it? It’s true that you can’t vet everything, but it’s also true that if a guy wants to make a show about work called \u003cem>The Randumb Show\u003c/em>, you might want to send an intern over to transcribe a couple episodes for you, just to make sure it’s not this. Did they do it and hope it wouldn’t come out, or did they not do it at all?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And second, how does Richards continue in his producing role? However unfair he likely finds it, the story of his Extremely Loud And Incredibly Short tenure as the host of one of the calmest and most dignified syndicated shows on television is going to be that he gave himself the job and then had to bail after he got caught calling women “slut” and “ho” on a podcast that, again, was made behind the scenes of a show where \u003cem>he was managing people\u003c/em>.\u003c/p>\n\u003cp>Is it the intent that he would now oversee a new host selection process? That he would be the person a candidate would sit down with, who would say, “What do you think makes you right for this job?” And that this candidate would have to resist saying, “I have never made a podcast with ‘dumb’ in the title at any of my workplaces?”\u003c/p>\n\u003cp>If anything, you can argue that it’s more pressing that Richards be relieved of the EP job than of the hosting job, and that the only reason he’d leave the latter and not the former is that he’s leaving the one that draws more attention and thus more fire. The substantive problem with these remarks is not that he was somehow going to make them on the air on \u003cem>Jeopardy! \u003c/em>in his capacity as host, since he probably wasn’t going to call anyone a slut while calling on her during the Daily Double. The substantive problem with these remarks is the attitude they convey, and in the context of management jobs, the environment they could create for employees.\u003c/p>\n\u003cp>It comes down, honestly, to this: How do you leave someone in charge of your show who opened with a catastrophic handling of the biggest possible executive producing task, apparently to his own benefit? And how do you make someone the boss who didn’t meet the character requirements to be the host?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stay tuned. Perhaps the implosion isn’t even over.\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+Is+A+Fiasco%3F+Mike+Richards+Will+Not+Host+%27Jeopardy%21%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren't Convinced",
"headTitle": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren’t Convinced | KQED",
"content": "\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>[aside postid='arts_13894917']“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>[aside postid='arts_13894863']“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>[aside postid='arts_13898108']Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>[aside postid='arts_13899758']“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\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=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\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=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "All the Reasons People are Mad About Mayim Bialik and Mike Richards Hosting ‘Jeopardy!’",
"headTitle": "All the Reasons People are Mad About Mayim Bialik and Mike Richards Hosting ‘Jeopardy!’ | KQED",
"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. 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",
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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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"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
"headTitle": "‘What If…?’ Gives the Marvel Universe an Animated Remix for Disney+ | KQED",
"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>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\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/x9D0uUKJ5KI'\n title='//www.youtube.com/embed/x9D0uUKJ5KI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "NBC Touts a Silver Lining in Historically Low Viewership for the Tokyo Olympics | KQED",
"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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"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": "\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/W8r-tXRLazs'\n title='//www.youtube.com/embed/W8r-tXRLazs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading",
"headTitle": "What’s Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading | KQED",
"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",
"headTitle": "Dear Emmy Voters and TV Lovers, Here’s What You Shouldn’t Miss | KQED",
"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",
"headTitle": "After 28 Quirky Years, Conan O’Brien is Leaving Late Night | KQED",
"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": "\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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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