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"content": "\u003cp>Sometimes, suspense is overwhelming. Who would win that first season of \u003cem>Survivor\u003c/em>? Who would win the presidential election? Will the bread dough rise? Will it rain on your birthday party?\u003c/p>\n\u003cp>Suspense was not overwhelming when we asked our listeners to rank the friends of \u003cem>Friends \u003c/em>from best to worst, at least in one regard: We suspected Ross would come in last and be named Worst Friend. And it was true. Let’s talk about the way our listeners ranked the Friends, beginning with Ross and working our way up to your BFoFF—Best Friend on \u003cem>Friends \u003c/em>Forever.\u003c/p>\n\u003cp>[Just a note: As it turned out, these calculations weren’t complex. The ranking of who received the most votes for Best Friend was the exact opposite of the ranking of who received the most votes for Worst Friend. So Ross received both the most Worst Friend votes and the fewest Best Friend votes, and so on.]\u003c/p>\n\u003ch3>6. Ross\u003c/h3>\n\u003cp>[aside postid='pop_106765']Ross got very mopey over the show’s ten seasons, and he developed a temper at one point and started yelling at his co-workers, and he said Rachel’s name during his wedding to Emily, and it took him forever to stop resenting Susan for being married to Carol, and so forth and so on. But I must say, I was still impressed to see that Ross received 76 percent of the thousands of votes for Worst Friend that came in.\u003c/p>\n\u003cp>That’s so many! That means that if the other five Friends were statistically similar to our listeners, 3.8 of them would have thought he was the worst one in the group! Hopefully, Monica wouldn’t, since that’s his sister, so out of the four Friends he’s not related to, only .2 people—like, just Phoebe’s arm—picked anybody other than Ross as Worst Friend! Maybe he should have abandoned the \u003ca href=\"https://www.youtube.com/watch?v=n67RYI_0sc0&ab_channel=TheGodAccount\" target=\"_blank\" rel=\"noopener noreferrer\">Pivot Couch\u003c/a> earlier.\u003c/p>\n\u003cfigure id=\"attachment_13898884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg\" alt=\"A pregnant Rachel (Jennifer Aniston) lies in a hospital bed, with Ross (David Schwimmer) at her bedside..\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1920x1258.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) and Ross (David Schwimmer). \u003ccite>(Warner Bros. Television/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Rachel\u003c/h3>\n\u003cp>This one surprised me a little more! I grew to appreciate Rachel’s goofy sense of humor, but it’s true that in the beginning, she was presented as spoiled and self-interested, obsessed with shopping and buying and reluctant to abandon her father’s credit cards. Over time, I think Jennifer Aniston’s \u003ca href=\"https://www.youtube.com/watch?v=JYqAWNVHBwo\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat comic energy\u003c/a> gave Rachel a highly necessary jolt of strangeness, and I will never tire of her warm friendship with Joey, which led to such highlights as their exchanging their favorite books. Putting \u003cem>Little Women \u003c/em>in the freezer was maybe the most Joey thing to ever happen, and it was Rachel who understood best that he needed to do it.\u003c/p>\n\u003ch3>4. Monica\u003c/h3>\n\u003cp>I think Monica fell into a little bit of the TV writing problem in which competence, especially in women, is easily exaggerated until it becomes a kind of neurotic unpleasantness (the same thing happened to Rebecca, played by Kirstie Alley, on \u003cem>Cheers\u003c/em>). In the early going, Monica was the nurturer, the mom, the host, the adult. Over time, especially after she and Chandler were married (…spoiler alert?), she got kind of mean and critical in a different way I enjoyed a lot less. I think early Monica would have fared better if she hadn’t been saddled with the problems of later Monica, much as I think later Rachel would have done better in our vote without the limitations of early Rachel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Look, it’s just science.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8mQea59u5hA\u003c/p>\n\u003ch3>3. Joey\u003c/h3>\n\u003cp>Joey became, for my money, the big beating heart of this show by the time it ended. It absolutely didn’t have to be that way—he began as a kind of grody womanizer who had more hair than heart. But the sillier the character got, and the more they discovered Matt LeBlanc’s extraordinary \u003ca href=\"https://www.youtube.com/watch?v=3Nt9mS2j4Uc&ab_channel=GowthamRajBM\" target=\"_blank\" rel=\"noopener noreferrer\">talent for face-pulling\u003c/a>, the more Joey became a big lovable doofus who I prooooooobably would have ranked above Chandler, if it were up to me. He’s probably the character who changed for the better the most, and if I had to pick one of these people to actually know in real life, there’s a good chance I’d pick Joey. He has foolishness and insensitivity in him, but no meanness.\u003c/p>\n\u003ch3>2. Chandler\u003c/h3>\n\u003cp>I was nearly a contemporary of these characters, which means that when Chandler was a twentysomething sarcastic joke-maker who seemed a little allergic to sincerity, I was a twentysomething goober with a soft spot I couldn’t shake for sarcastic joke-makers who seemed a little allergic to sincerity. Chandler was my favorite in the early going, because I liked his jokes the best. But more and more, I’ve come to appreciate the perspective of Phoebe’s psychiatrist boyfriend, played by Fisher Stevens, who was presented as irredeemably annoying but who nailed Chandler’s personality when he said, “You’re so funny! I wouldn’t want to be there when the laughter stops.” Chandler’s position here, near the top, is probably a product of his sharp wit and the degree to which his sense of humor came to define the show’s voice, in spite of what I would argue was eventually his exhausting and relentless funny-guy neediness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pDqE2MZiXCY\u003c/p>\n\u003ch3>1. Phoebe\u003c/h3>\n\u003cp>[aside postid='arts_13897888']Of course it’s Phoebe! Phoebe didn’t nail down Best Friend with quite the emphatic stomping that Ross nailed down Worst Friend; she received 50 percent of the vote for Best Friend. But given that there are six Friends to choose from, it’s still a clear and resounding victory. Phoebe was always the gentlest and the nicest of these people, despite what had been a tough upbringing and a lot of pain. She found love with a couple of different lovely partners, including Hank Azaria’s David and then Paul Rudd’s wonderful Mike Hannigan, and nobody deserved true happiness more. She carried triplets for her brother, she played the guitar, and she would do anything she could for any of these goofballs, even when they were ridiculous. What’s not to love?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel includes Barrie Hardymon, Sam Sanders, and Bedatri D. Choudhury. The audio was produced by Jared M. Gair, and edited by Jessica Reedy. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Ross got very mopey over the show’s ten seasons, and he developed a temper at one point and started yelling at his co-workers, and he said Rachel’s name during his wedding to Emily, and it took him forever to stop resenting Susan for being married to Carol, and so forth and so on. But I must say, I was still impressed to see that Ross received 76 percent of the thousands of votes for Worst Friend that came in.\u003c/p>\n\u003cp>That’s so many! That means that if the other five Friends were statistically similar to our listeners, 3.8 of them would have thought he was the worst one in the group! Hopefully, Monica wouldn’t, since that’s his sister, so out of the four Friends he’s not related to, only .2 people—like, just Phoebe’s arm—picked anybody other than Ross as Worst Friend! Maybe he should have abandoned the \u003ca href=\"https://www.youtube.com/watch?v=n67RYI_0sc0&ab_channel=TheGodAccount\" target=\"_blank\" rel=\"noopener noreferrer\">Pivot Couch\u003c/a> earlier.\u003c/p>\n\u003cfigure id=\"attachment_13898884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg\" alt=\"A pregnant Rachel (Jennifer Aniston) lies in a hospital bed, with Ross (David Schwimmer) at her bedside..\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1132327_enl-ca60cd2925807382c606aae4620a08d83fabda91-1920x1258.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel (Jennifer Aniston) and Ross (David Schwimmer). \u003ccite>(Warner Bros. Television/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Rachel\u003c/h3>\n\u003cp>This one surprised me a little more! I grew to appreciate Rachel’s goofy sense of humor, but it’s true that in the beginning, she was presented as spoiled and self-interested, obsessed with shopping and buying and reluctant to abandon her father’s credit cards. Over time, I think Jennifer Aniston’s \u003ca href=\"https://www.youtube.com/watch?v=JYqAWNVHBwo\" target=\"_blank\" rel=\"noopener noreferrer\">offbeat comic energy\u003c/a> gave Rachel a highly necessary jolt of strangeness, and I will never tire of her warm friendship with Joey, which led to such highlights as their exchanging their favorite books. Putting \u003cem>Little Women \u003c/em>in the freezer was maybe the most Joey thing to ever happen, and it was Rachel who understood best that he needed to do it.\u003c/p>\n\u003ch3>4. Monica\u003c/h3>\n\u003cp>I think Monica fell into a little bit of the TV writing problem in which competence, especially in women, is easily exaggerated until it becomes a kind of neurotic unpleasantness (the same thing happened to Rebecca, played by Kirstie Alley, on \u003cem>Cheers\u003c/em>). In the early going, Monica was the nurturer, the mom, the host, the adult. Over time, especially after she and Chandler were married (…spoiler alert?), she got kind of mean and critical in a different way I enjoyed a lot less. I think early Monica would have fared better if she hadn’t been saddled with the problems of later Monica, much as I think later Rachel would have done better in our vote without the limitations of early Rachel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Look, it’s just science.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8mQea59u5hA'\n title='//www.youtube.com/embed/8mQea59u5hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>3. Joey\u003c/h3>\n\u003cp>Joey became, for my money, the big beating heart of this show by the time it ended. It absolutely didn’t have to be that way—he began as a kind of grody womanizer who had more hair than heart. But the sillier the character got, and the more they discovered Matt LeBlanc’s extraordinary \u003ca href=\"https://www.youtube.com/watch?v=3Nt9mS2j4Uc&ab_channel=GowthamRajBM\" target=\"_blank\" rel=\"noopener noreferrer\">talent for face-pulling\u003c/a>, the more Joey became a big lovable doofus who I prooooooobably would have ranked above Chandler, if it were up to me. He’s probably the character who changed for the better the most, and if I had to pick one of these people to actually know in real life, there’s a good chance I’d pick Joey. He has foolishness and insensitivity in him, but no meanness.\u003c/p>\n\u003ch3>2. Chandler\u003c/h3>\n\u003cp>I was nearly a contemporary of these characters, which means that when Chandler was a twentysomething sarcastic joke-maker who seemed a little allergic to sincerity, I was a twentysomething goober with a soft spot I couldn’t shake for sarcastic joke-makers who seemed a little allergic to sincerity. Chandler was my favorite in the early going, because I liked his jokes the best. But more and more, I’ve come to appreciate the perspective of Phoebe’s psychiatrist boyfriend, played by Fisher Stevens, who was presented as irredeemably annoying but who nailed Chandler’s personality when he said, “You’re so funny! I wouldn’t want to be there when the laughter stops.” Chandler’s position here, near the top, is probably a product of his sharp wit and the degree to which his sense of humor came to define the show’s voice, in spite of what I would argue was eventually his exhausting and relentless funny-guy neediness.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pDqE2MZiXCY'\n title='//www.youtube.com/embed/pDqE2MZiXCY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1. Phoebe\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course it’s Phoebe! Phoebe didn’t nail down Best Friend with quite the emphatic stomping that Ross nailed down Worst Friend; she received 50 percent of the vote for Best Friend. But given that there are six Friends to choose from, it’s still a clear and resounding victory. Phoebe was always the gentlest and the nicest of these people, despite what had been a tough upbringing and a lot of pain. She found love with a couple of different lovely partners, including Hank Azaria’s David and then Paul Rudd’s wonderful Mike Hannigan, and nobody deserved true happiness more. She carried triplets for her brother, she played the guitar, and she would do anything she could for any of these goofballs, even when they were ridiculous. What’s not to love?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel includes Barrie Hardymon, Sam Sanders, and Bedatri D. Choudhury. The audio was produced by Jared M. Gair, and edited by Jessica Reedy. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+%27Friends%2C%27+Ranked%2C+From+Ross+To+Best&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Keeping Up With the Kardashians’ is Finally Over—But the GIFs Will Live Forever",
"headTitle": "‘Keeping Up With the Kardashians’ is Finally Over—But the GIFs Will Live Forever | KQED",
"content": "\u003cp>It only took 14 years, 20 seasons and 280 episodes, but \u003cem>Keeping Up With the Kardashians\u003c/em> is finally—\u003cem>finally!\u003c/em>—over. The last episode rolls out June 10 and then we never, ever have to see them ever again. Just kidding. The family has already made a deal with Disney to make “\u003ca href=\"https://www.npr.org/2021/06/10/1004840905/kardashians-end-show-move-to-disney-and-hulu\" target=\"_blank\" rel=\"noopener noreferrer\">new global content\u003c/a>,” whatever that means. (Based on current projections, probably \u003ca href=\"https://www.instagram.com/p/COJPXF9Fbzu/\" target=\"_blank\" rel=\"noopener noreferrer\">Kourtney dry-humping Travis Barker\u003c/a> on a beach somewhere? Or perhaps \u003ca href=\"https://www.instagram.com/p/CPBKkceN2vq/\" target=\"_blank\" rel=\"noopener noreferrer\">Khloé showing us her stomach\u003c/a> next to the seven wonders of the world? Could be just about anything, as long as the end result is \u003cem>utterly meaningless\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='pop_95657']Whatever your feelings about the Kardashian-Jenners, one thing is for sure. Their stupid reality show—and all of the even more stupid spin-offs it spawned (did you forget about \u003ca href=\"https://en.wikipedia.org/wiki/Kourtney_and_Kim_Take_New_York\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kourtney and Kim Take New York\u003c/em>\u003c/a> and *checks notes* \u003ca href=\"https://en.wikipedia.org/wiki/Dash_Dolls\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dash Dolls\u003c/em>\u003c/a> already?)—have provided the internet with some of the greatest GIFs of all time. Here now, for your perplexed amusement, we have compiled some of the best. May the world use them in perpetuity as a reflection of everything that’s wrong with us as a society. Including, but not limited to:\u003c/p>\n\u003cp>Selfish siblings!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898676 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/keeping-up-with-the-kardashians-jail.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Really, really, \u003cem>really\u003c/em> supportive moms!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898677 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/youre-doing-amazin-sweetie.gif\" alt=\"\" width=\"500\" height=\"369\">\u003c/p>\n\u003cp>Sentient lip gloss!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898678 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/someone-I-really-want-you-meet-I-think-youll-hit-off.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Inappropriate grandmas!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898682 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/VMmj.gif\" alt=\"\" width=\"398\" height=\"225\">\u003c/p>\n\u003cp>The casually depressed!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898680 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Sentient Brazilian Blowouts!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898698 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/5d28b89ba21b3776b9573bf3bf50ba87.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898699 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_n0q273PkkF1toieuwo1_500-anim.gif\" alt=\"\" width=\"500\" height=\"260\">\u003c/p>\n\u003cp>Coachella wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898687 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ClumsySimpleAnkolewatusi-max-1mb.gif\" alt=\"\" width=\"256\" height=\"320\">\u003c/p>\n\u003cp>Super rich wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898683 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/rs_500x375-150312155502-Best-Room-That-They-Have.gif\" alt=\"\" width=\"500\" height=\"375\">\u003c/p>\n\u003cp>Wisdomous wisdomers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898686 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/v_H436.gif\" alt=\"\" width=\"400\" height=\"168\">\u003c/p>\n\u003cp>Pragmatists!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898702 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-2.gif\" alt=\"\" width=\"250\" height=\"250\">\u003c/p>\n\u003cp>Name-droppers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898701 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1-1.gif\" alt=\"\" width=\"500\" height=\"275\">\u003c/p>\n\u003cp>Sentient false eyelashes!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898681 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/AjarTerribleBlueshark-max-1mb.gif\" alt=\"\" width=\"340\" height=\"191\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898692 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_mk9oflh5nC1rnu3rro1_400.gif\" alt=\"\" width=\"400\" height=\"224\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898696 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_m7pvv1QDBt1rbe3suo1_500.gif\" alt=\"\" width=\"500\" height=\"273\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898693 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tenor.gif\" alt=\"\" width=\"498\" height=\"280\">\u003c/p>\n\u003cp>And most legendarily of all… ugly criers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898679 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy.gif\" alt=\"\" width=\"400\" height=\"225\">\u003c/p>\n\u003cp>You can dig up that last one when the Disney show launches.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Love it or loathe it, the reality TV show has been a GIF gift that just kept on giving. Ahem.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whatever your feelings about the Kardashian-Jenners, one thing is for sure. Their stupid reality show—and all of the even more stupid spin-offs it spawned (did you forget about \u003ca href=\"https://en.wikipedia.org/wiki/Kourtney_and_Kim_Take_New_York\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kourtney and Kim Take New York\u003c/em>\u003c/a> and *checks notes* \u003ca href=\"https://en.wikipedia.org/wiki/Dash_Dolls\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dash Dolls\u003c/em>\u003c/a> already?)—have provided the internet with some of the greatest GIFs of all time. Here now, for your perplexed amusement, we have compiled some of the best. May the world use them in perpetuity as a reflection of everything that’s wrong with us as a society. Including, but not limited to:\u003c/p>\n\u003cp>Selfish siblings!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898676 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/keeping-up-with-the-kardashians-jail.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Really, really, \u003cem>really\u003c/em> supportive moms!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898677 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/youre-doing-amazin-sweetie.gif\" alt=\"\" width=\"500\" height=\"369\">\u003c/p>\n\u003cp>Sentient lip gloss!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898678 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/someone-I-really-want-you-meet-I-think-youll-hit-off.gif\" alt=\"\" width=\"500\" height=\"282\">\u003c/p>\n\u003cp>Inappropriate grandmas!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898682 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/VMmj.gif\" alt=\"\" width=\"398\" height=\"225\">\u003c/p>\n\u003cp>The casually depressed!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898680 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Sentient Brazilian Blowouts!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898698 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/5d28b89ba21b3776b9573bf3bf50ba87.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898699 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_n0q273PkkF1toieuwo1_500-anim.gif\" alt=\"\" width=\"500\" height=\"260\">\u003c/p>\n\u003cp>Coachella wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898687 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ClumsySimpleAnkolewatusi-max-1mb.gif\" alt=\"\" width=\"256\" height=\"320\">\u003c/p>\n\u003cp>Super rich wankers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898683 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/rs_500x375-150312155502-Best-Room-That-They-Have.gif\" alt=\"\" width=\"500\" height=\"375\">\u003c/p>\n\u003cp>Wisdomous wisdomers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898686 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/v_H436.gif\" alt=\"\" width=\"400\" height=\"168\">\u003c/p>\n\u003cp>Pragmatists!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898702 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-2.gif\" alt=\"\" width=\"250\" height=\"250\">\u003c/p>\n\u003cp>Name-droppers!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898701 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy-1-1.gif\" alt=\"\" width=\"500\" height=\"275\">\u003c/p>\n\u003cp>Sentient false eyelashes!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898681 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/AjarTerribleBlueshark-max-1mb.gif\" alt=\"\" width=\"340\" height=\"191\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898692 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_mk9oflh5nC1rnu3rro1_400.gif\" alt=\"\" width=\"400\" height=\"224\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898696 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tumblr_m7pvv1QDBt1rbe3suo1_500.gif\" alt=\"\" width=\"500\" height=\"273\">\u003c/p>\n\u003cp>Egomaniacs!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898693 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/tenor.gif\" alt=\"\" width=\"498\" height=\"280\">\u003c/p>\n\u003cp>And most legendarily of all… ugly criers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898679 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/giphy.gif\" alt=\"\" width=\"400\" height=\"225\">\u003c/p>\n\u003cp>You can dig up that last one when the Disney show launches.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Bachelor' Host Chris Harrison Exits Franchise After 'Woke Police' Controversy",
"headTitle": "‘The Bachelor’ Host Chris Harrison Exits Franchise After ‘Woke Police’ Controversy | KQED",
"content": "\u003cp>In nearly twenty years hosting the different dating series in \u003cem>The Bachelor \u003c/em>franchise, host Chris Harrison has handled everything from confronting rule-breaking contestants to chasing down \u003cem>Bachelor\u003c/em> star \u003ca href=\"https://www.kqed.org/arts/13895730\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Underwood\u003c/a> after he hopped a fence and tried to quit the show.\u003c/p>\n\u003cp>But today it is Harrison who is leaving. ABC and producers of \u003cem>The Bachelor\u003c/em> and its spin offs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise,\u003c/em> have confirmed that the host is gone for good after fumbling a race-related controversy from the mothership program.\u003c/p>\n\u003cp>ABC Entertainment and Warner Horizon, the show’s distributor and producer, acknowledged Harrison’s departure today in a terse joint statement: “Chris Harrison is stepping aside as host of \u003cem>The Bachelor\u003c/em> franchise. We are thankful for his many contributions over the past 20 years and wish him all the best on his new journey.”\u003c/p>\n\u003cp>[aside postid='arts_13893077']Harrison, 49, issued a more optimistic statement on his Instagram page, noting “I’ve had a truly incredible run as host of \u003cem>The Bachelor\u003c/em> franchise and now I’m excited to start a new chapter. I’m so grateful to Bachelor Nation for all of the memories we’ve made together. While my two-decade journey is wrapping up, the friendships I’ve made will last a lifetime.”\u003c/p>\n\u003cp>Representatives from ABC, Warner Horizon and Harrison did not otherwise respond to requests for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The website Deadline \u003ca href=\"https://deadline.com/2021/06/chris-harrison-leaving-the-bachelor-franchise-controversy-1234771200\" target=\"_blank\" rel=\"noopener noreferrer\">reported Harrison’s ouster\u003c/a>, saying it came after intense negotiations culminating in a “midrange, eight-figure payoff” which would ensure the former host said little about the issue after the news was released.\u003c/p>\n\u003cp>Harrison has hosted \u003cem>The Bachelor\u003c/em> and its spinoff shows since the series debuted in 2002. But he was sidelined in February, \u003ca href=\"https://www.youtube.com/watch?v=9hmY1gSAuRk\" target=\"_blank\" rel=\"noopener noreferrer\">after an interview\u003c/a> where he downplayed the significance of news that contestant Rachael Kirkconnell had once attended a party themed around the antebellum South, a period when slavery still existed.\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> was featuring its first Black star, Matt James. As the news about Kirkconnell spread, fans questioned whether the series had vetted its white contestants well enough to exclude contestants with racist issues in their past.\u003c/p>\n\u003cp>[aside postid='arts_13894064']But Harrison derisively dubbed Kirkconnell’s critics the “woke police,” until a widespread backlash led him to issue an apology and step away from his hosting duties. “What I now realize I have done is cause harm by wrongly speaking in a manner that perpetuates racism and for that I am so deeply sorry,” he said in one of two apologies \u003ca href=\"https://www.instagram.com/p/CLIjt2IgzOo/\" target=\"_blank\" rel=\"noopener noreferrer\">posted on Instagram\u003c/a>.\u003c/p>\n\u003cp>His initial comments were seen as emblematic of the show’s ongoing \u003ca href=\"https://www.npr.org/2021/03/16/977841254/the-bachelors-cluelessness-about-race-comes-to-a-head-in-season-finale\" target=\"_blank\" rel=\"noopener noreferrer\">cluelessness about diversity\u003c/a> issues, as it struggled to feature non-white stars and respect their perspectives.\u003c/p>\n\u003cp>And the controversy over Kirkconnell—who James had picked as the season’s winner during episodes pre-taped last year—eventually overshadowed the season finale in March. James wound up rejecting Kirkconnell during the program’s \u003cem>After the Rose\u003c/em> special, which was hosted by former NFL player and author Emmanuel Acho. (he has since told \u003cem>People\u003c/em> magazine he is once again “\u003ca href=\"https://people.com/tv/matt-james-says-hes-pursuing-a-relationship-with-rachael-kirkconnell-focusing-on-it/\" target=\"_blank\" rel=\"noopener noreferrer\">pursuing a relationship\u003c/a>” with her.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harrison’s departure was initially characterized as a temporary stepping aside. But news that former \u003cem>Bachelorett\u003c/em>e stars Tayshia Adams and Kaitlyn Bristowe would host the edition of \u003cem>The Bachelorette\u003c/em> that debuted Monday (and that guest hosts, including comic David Spade, \u003ca href=\"https://people.com/tv/david-spade-guest-host-bachelor-in-paradise-amid-chris-harrison-break-from-franchise-source/\" target=\"_blank\" rel=\"noopener noreferrer\">would lead this year’s edition\u003c/a> of \u003cem>Bachelor in Paradise\u003c/em>) led to speculation about his long-term future with the franchise.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelor%27+Host+Chris+Harrison+Exits+Franchise+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In nearly twenty years hosting the different dating series in \u003cem>The Bachelor \u003c/em>franchise, host Chris Harrison has handled everything from confronting rule-breaking contestants to chasing down \u003cem>Bachelor\u003c/em> star \u003ca href=\"https://www.kqed.org/arts/13895730\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Underwood\u003c/a> after he hopped a fence and tried to quit the show.\u003c/p>\n\u003cp>But today it is Harrison who is leaving. ABC and producers of \u003cem>The Bachelor\u003c/em> and its spin offs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise,\u003c/em> have confirmed that the host is gone for good after fumbling a race-related controversy from the mothership program.\u003c/p>\n\u003cp>ABC Entertainment and Warner Horizon, the show’s distributor and producer, acknowledged Harrison’s departure today in a terse joint statement: “Chris Harrison is stepping aside as host of \u003cem>The Bachelor\u003c/em> franchise. We are thankful for his many contributions over the past 20 years and wish him all the best on his new journey.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison, 49, issued a more optimistic statement on his Instagram page, noting “I’ve had a truly incredible run as host of \u003cem>The Bachelor\u003c/em> franchise and now I’m excited to start a new chapter. I’m so grateful to Bachelor Nation for all of the memories we’ve made together. While my two-decade journey is wrapping up, the friendships I’ve made will last a lifetime.”\u003c/p>\n\u003cp>Representatives from ABC, Warner Horizon and Harrison did not otherwise respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The website Deadline \u003ca href=\"https://deadline.com/2021/06/chris-harrison-leaving-the-bachelor-franchise-controversy-1234771200\" target=\"_blank\" rel=\"noopener noreferrer\">reported Harrison’s ouster\u003c/a>, saying it came after intense negotiations culminating in a “midrange, eight-figure payoff” which would ensure the former host said little about the issue after the news was released.\u003c/p>\n\u003cp>Harrison has hosted \u003cem>The Bachelor\u003c/em> and its spinoff shows since the series debuted in 2002. But he was sidelined in February, \u003ca href=\"https://www.youtube.com/watch?v=9hmY1gSAuRk\" target=\"_blank\" rel=\"noopener noreferrer\">after an interview\u003c/a> where he downplayed the significance of news that contestant Rachael Kirkconnell had once attended a party themed around the antebellum South, a period when slavery still existed.\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> was featuring its first Black star, Matt James. As the news about Kirkconnell spread, fans questioned whether the series had vetted its white contestants well enough to exclude contestants with racist issues in their past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Harrison derisively dubbed Kirkconnell’s critics the “woke police,” until a widespread backlash led him to issue an apology and step away from his hosting duties. “What I now realize I have done is cause harm by wrongly speaking in a manner that perpetuates racism and for that I am so deeply sorry,” he said in one of two apologies \u003ca href=\"https://www.instagram.com/p/CLIjt2IgzOo/\" target=\"_blank\" rel=\"noopener noreferrer\">posted on Instagram\u003c/a>.\u003c/p>\n\u003cp>His initial comments were seen as emblematic of the show’s ongoing \u003ca href=\"https://www.npr.org/2021/03/16/977841254/the-bachelors-cluelessness-about-race-comes-to-a-head-in-season-finale\" target=\"_blank\" rel=\"noopener noreferrer\">cluelessness about diversity\u003c/a> issues, as it struggled to feature non-white stars and respect their perspectives.\u003c/p>\n\u003cp>And the controversy over Kirkconnell—who James had picked as the season’s winner during episodes pre-taped last year—eventually overshadowed the season finale in March. James wound up rejecting Kirkconnell during the program’s \u003cem>After the Rose\u003c/em> special, which was hosted by former NFL player and author Emmanuel Acho. (he has since told \u003cem>People\u003c/em> magazine he is once again “\u003ca href=\"https://people.com/tv/matt-james-says-hes-pursuing-a-relationship-with-rachael-kirkconnell-focusing-on-it/\" target=\"_blank\" rel=\"noopener noreferrer\">pursuing a relationship\u003c/a>” with her.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harrison’s departure was initially characterized as a temporary stepping aside. But news that former \u003cem>Bachelorett\u003c/em>e stars Tayshia Adams and Kaitlyn Bristowe would host the edition of \u003cem>The Bachelorette\u003c/em> that debuted Monday (and that guest hosts, including comic David Spade, \u003ca href=\"https://people.com/tv/david-spade-guest-host-bachelor-in-paradise-amid-chris-harrison-break-from-franchise-source/\" target=\"_blank\" rel=\"noopener noreferrer\">would lead this year’s edition\u003c/a> of \u003cem>Bachelor in Paradise\u003c/em>) led to speculation about his long-term future with the franchise.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelor%27+Host+Chris+Harrison+Exits+Franchise+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I was 12, a school friend’s mother introduced our little group of friends to the wrist test. Your wrist circumference, she explained, was the true demonstration of your bone structure, and an indication of the size you actually could be if you watched your weight enough. She went around our circle of tweens and marveled at the daintiness of my friends’ wrists. Then she reached mine, audibly gasped, and uttered the phrase, “Oh, so you really \u003cem>are\u003c/em> big-boned.” I couldn’t tell if I was being let off the hook or thrown on the trash pile. Maybe a little of both.\u003c/p>\n\u003cp>I never forgot about the wrist test. (In part, because every time I attempt to buy a bracelet, I’m reminded that my bones are so gasp-worthy, no one’s willing to make accessories large enough to fit them.) But I’d also never really heard anyone else talk about it. That was until March 2019, when the very first episode of \u003cem>Shrill\u003c/em> came out on Hulu. I couldn’t quite believe it when I saw it, but within two minutes of the show starting, Aidy Bryant’s character, Annie Easton, was being subjected to a wrist test. (Something, she later \u003ca href=\"https://www.youtube.com/watch?v=fn1kab6Jy2U\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>Today\u003c/em> \u003cem>Show\u003c/em>\u003c/a>, had happened to her in real life.)\u003c/p>\n\u003cp>“You actually have a really small frame,” a complete stranger told Annie in a coffee shop. “There is a small person inside of you, dying to get out.”\u003c/p>\n\u003cp>“Oh,” Annie quipped back. “Well I hope that small person’s OK in there…” Later in the episode she gets more succinct, offering a simple “fuck you” to the woman.\u003c/p>\n\u003cp>This was the exact moment that I fell in love with Annie Easton. I fell in love with her because I’d never seen anyone quite like her on TV before. (The fat girl as the central character, not the comic relief, shouldn’t be a revolutionary concept, but here we are.) I fell in love with her because she was doing her damn best while batting away near-constant fatphobic aggressions, both micro and major. And I fell in love with her because at the end of that very first episode of \u003cem>Shrill\u003c/em>, she declared: “I’ve been letting people dismiss me, or say shit to me about my body my entire life. And at this point, I just feel like, fuck them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SB2i0fuSMRI\u003c/p>\n\u003cp>\u003cem>Shrill\u003c/em>’s first season was extremely adept at throwing a middle finger up at fat-shaming in all its forms. Fat-shaming by family members, back-handed friends, bosses, medical professionals and well-meaning strangers. It very shrewdly identified all forms of fat hostility, then very gently asked the audience to both recognize it, and stop participating in it. And watching Annie Easton refusing to participate in her own subjugation anymore was an absolute thrill to watch. Plus, \u003cem>Shrill\u003c/em> was funny. Really, really funny.\u003c/p>\n\u003cp>[aside postid='arts_13874075']The reason \u003cem>Shrill\u003c/em> was so good at being honest, empowering and, yes, hilarious was because it was created, developed and written by women who didn’t just know the Annie Eastons of the world, they \u003cem>were\u003c/em> them. Bryant (memorably hailed as \u003cem>Saturday Night Live’\u003c/em>s “\u003ca href=\"https://www.bitchmedia.org/post/snl-adds-first-ever-fat-woman-to-new-cast-aidy-bryant-feminist-magazine-television\" target=\"_blank\" rel=\"noopener noreferrer\">first ever fat woman\u003c/a>” by Bitch Media) developed and co-wrote the first season with \u003ca href=\"https://www.lindywest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lindy West\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1494121/?ref_=nmbio_bio_nm\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Rushfield\u003c/a>. \u003cem>Shrill\u003c/em> took its name from West’s 2017 \u003ca href=\"https://www.lindywest.net/shrill\" target=\"_blank\" rel=\"noopener noreferrer\">book of essays\u003c/a>. (Almost all of the components for the first season are visible in a single essay from the collection titled, “You’re So Brave for Wearing Clothes and Not Hating Yourself!”) Rushfield had previously written for—and executive produced—other funny, brilliant series like \u003cem>Parks and Recreation\u003c/em> and \u003cem>Love\u003c/em>. The Bryant/West/Rushfield core trio went on to bring in an incredibly diverse team of writers to pen the episodes that they didn’t. And the show was better for it.\u003c/p>\n\u003cp>Themes around fat-shaming were also present in seasons two and three—they had to be for the sake of realism—but the show became less concerned about Annie’s size, and more concerned about her development as an empowered, freshly assertive person. Season three, which came out May 7, was particularly adept at exploring the pitfalls of this kind of newly acquired self-confidence, as Annie made cringeworthy mistakes in both her career and her love life. Along the way, we also got very invested in the life of her queer, more gregarious best friend, Fran (played warmly and hilariously by Lolly Adefope).\u003c/p>\n\u003cp>And then, right in the middle of Annie and Fran’s still blossoming, still messy journeys, it all came to a screeching halt. \u003cem>Shrill\u003c/em> ended for good last month, after 22 too-short episodes. I’ve been trying to make peace with that since I binged the new season the day it came out. The knowledge that there will never be another episode has been actively bothering me ever since. And the fact that the cast and writers didn’t find out it would be the last season until they were already halfway through making it has been nagging at me even more. Perhaps if they’d had a little more notice, \u003cem>Shrill\u003c/em> wouldn’t feel quite so unfinished right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PyDjQf8KJyc\u003c/p>\n\u003cp>On the promo jaunt for \u003cem>Shrill\u003c/em>‘s third and final season, Bryant and West did their level best to put a positive spin on the end of the show. \u003ca href=\"https://www.refinery29.com/en-us/2021/05/10460703/shrill-final-season-ending-explained-aidy-bryant-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Bryant told \u003cem>Refinery 29\u003c/em>\u003c/a>: “Something I really like about the end for both Fran and Annie is that they don’t end with these perfect scenarios. They end with scenarios that they’re going to have to work through and grow in order to get through … I think it’s a nice way to show that she’s got more work to do forever.”\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.esquire.com/entertainment/tv/a36339150/aidy-bryant-lindy-west-shrill-season-3-series-finale-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Esquire\u003c/em>\u003c/a>, Lindy West said, “I also think that not tying everything up with a big bow lets characters keep living in a way that a more formal finale doesn’t. You’re just stepping back out of their lives. In my brain, their lives go on, and all of these characters are still out there.”\u003c/p>\n\u003cp>[aside postid='pop_96893']Maybe Bryant and West are right. Maybe an unfinished story is better than a neat one. Maybe the lack of happy ending is more in keeping with the overall tone of the show. But I can’t stop thinking about something West wrote in the book version of \u003cem>Shrill\u003c/em>. Right after she pointed out that “looking at pictures of fat people makes you like fat people more,” West gave us an “eternal reminder: representation matters.” And what we are still lacking on television in 2021 are shows in which cool fat women just live their lives with grace and self-love and—godammit—\u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That \u003cem>Shrill\u003c/em> was able to give us that for three seasons is something to treasure, alright. But it’s also not enough—especially when Annie Easton taught us so righteously to always, \u003cem>always\u003c/em> ask for more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was 12, a school friend’s mother introduced our little group of friends to the wrist test. Your wrist circumference, she explained, was the true demonstration of your bone structure, and an indication of the size you actually could be if you watched your weight enough. She went around our circle of tweens and marveled at the daintiness of my friends’ wrists. Then she reached mine, audibly gasped, and uttered the phrase, “Oh, so you really \u003cem>are\u003c/em> big-boned.” I couldn’t tell if I was being let off the hook or thrown on the trash pile. Maybe a little of both.\u003c/p>\n\u003cp>I never forgot about the wrist test. (In part, because every time I attempt to buy a bracelet, I’m reminded that my bones are so gasp-worthy, no one’s willing to make accessories large enough to fit them.) But I’d also never really heard anyone else talk about it. That was until March 2019, when the very first episode of \u003cem>Shrill\u003c/em> came out on Hulu. I couldn’t quite believe it when I saw it, but within two minutes of the show starting, Aidy Bryant’s character, Annie Easton, was being subjected to a wrist test. (Something, she later \u003ca href=\"https://www.youtube.com/watch?v=fn1kab6Jy2U\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>Today\u003c/em> \u003cem>Show\u003c/em>\u003c/a>, had happened to her in real life.)\u003c/p>\n\u003cp>“You actually have a really small frame,” a complete stranger told Annie in a coffee shop. “There is a small person inside of you, dying to get out.”\u003c/p>\n\u003cp>“Oh,” Annie quipped back. “Well I hope that small person’s OK in there…” Later in the episode she gets more succinct, offering a simple “fuck you” to the woman.\u003c/p>\n\u003cp>This was the exact moment that I fell in love with Annie Easton. I fell in love with her because I’d never seen anyone quite like her on TV before. (The fat girl as the central character, not the comic relief, shouldn’t be a revolutionary concept, but here we are.) I fell in love with her because she was doing her damn best while batting away near-constant fatphobic aggressions, both micro and major. And I fell in love with her because at the end of that very first episode of \u003cem>Shrill\u003c/em>, she declared: “I’ve been letting people dismiss me, or say shit to me about my body my entire life. And at this point, I just feel like, fuck 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/SB2i0fuSMRI'\n title='//www.youtube.com/embed/SB2i0fuSMRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Shrill\u003c/em>’s first season was extremely adept at throwing a middle finger up at fat-shaming in all its forms. Fat-shaming by family members, back-handed friends, bosses, medical professionals and well-meaning strangers. It very shrewdly identified all forms of fat hostility, then very gently asked the audience to both recognize it, and stop participating in it. And watching Annie Easton refusing to participate in her own subjugation anymore was an absolute thrill to watch. Plus, \u003cem>Shrill\u003c/em> was funny. Really, really funny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The reason \u003cem>Shrill\u003c/em> was so good at being honest, empowering and, yes, hilarious was because it was created, developed and written by women who didn’t just know the Annie Eastons of the world, they \u003cem>were\u003c/em> them. Bryant (memorably hailed as \u003cem>Saturday Night Live’\u003c/em>s “\u003ca href=\"https://www.bitchmedia.org/post/snl-adds-first-ever-fat-woman-to-new-cast-aidy-bryant-feminist-magazine-television\" target=\"_blank\" rel=\"noopener noreferrer\">first ever fat woman\u003c/a>” by Bitch Media) developed and co-wrote the first season with \u003ca href=\"https://www.lindywest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lindy West\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm1494121/?ref_=nmbio_bio_nm\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Rushfield\u003c/a>. \u003cem>Shrill\u003c/em> took its name from West’s 2017 \u003ca href=\"https://www.lindywest.net/shrill\" target=\"_blank\" rel=\"noopener noreferrer\">book of essays\u003c/a>. (Almost all of the components for the first season are visible in a single essay from the collection titled, “You’re So Brave for Wearing Clothes and Not Hating Yourself!”) Rushfield had previously written for—and executive produced—other funny, brilliant series like \u003cem>Parks and Recreation\u003c/em> and \u003cem>Love\u003c/em>. The Bryant/West/Rushfield core trio went on to bring in an incredibly diverse team of writers to pen the episodes that they didn’t. And the show was better for it.\u003c/p>\n\u003cp>Themes around fat-shaming were also present in seasons two and three—they had to be for the sake of realism—but the show became less concerned about Annie’s size, and more concerned about her development as an empowered, freshly assertive person. Season three, which came out May 7, was particularly adept at exploring the pitfalls of this kind of newly acquired self-confidence, as Annie made cringeworthy mistakes in both her career and her love life. Along the way, we also got very invested in the life of her queer, more gregarious best friend, Fran (played warmly and hilariously by Lolly Adefope).\u003c/p>\n\u003cp>And then, right in the middle of Annie and Fran’s still blossoming, still messy journeys, it all came to a screeching halt. \u003cem>Shrill\u003c/em> ended for good last month, after 22 too-short episodes. I’ve been trying to make peace with that since I binged the new season the day it came out. The knowledge that there will never be another episode has been actively bothering me ever since. And the fact that the cast and writers didn’t find out it would be the last season until they were already halfway through making it has been nagging at me even more. Perhaps if they’d had a little more notice, \u003cem>Shrill\u003c/em> wouldn’t feel quite so unfinished right now.\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/PyDjQf8KJyc'\n title='//www.youtube.com/embed/PyDjQf8KJyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the promo jaunt for \u003cem>Shrill\u003c/em>‘s third and final season, Bryant and West did their level best to put a positive spin on the end of the show. \u003ca href=\"https://www.refinery29.com/en-us/2021/05/10460703/shrill-final-season-ending-explained-aidy-bryant-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Bryant told \u003cem>Refinery 29\u003c/em>\u003c/a>: “Something I really like about the end for both Fran and Annie is that they don’t end with these perfect scenarios. They end with scenarios that they’re going to have to work through and grow in order to get through … I think it’s a nice way to show that she’s got more work to do forever.”\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.esquire.com/entertainment/tv/a36339150/aidy-bryant-lindy-west-shrill-season-3-series-finale-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Esquire\u003c/em>\u003c/a>, Lindy West said, “I also think that not tying everything up with a big bow lets characters keep living in a way that a more formal finale doesn’t. You’re just stepping back out of their lives. In my brain, their lives go on, and all of these characters are still out there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe Bryant and West are right. Maybe an unfinished story is better than a neat one. Maybe the lack of happy ending is more in keeping with the overall tone of the show. But I can’t stop thinking about something West wrote in the book version of \u003cem>Shrill\u003c/em>. Right after she pointed out that “looking at pictures of fat people makes you like fat people more,” West gave us an “eternal reminder: representation matters.” And what we are still lacking on television in 2021 are shows in which cool fat women just live their lives with grace and self-love and—godammit—\u003cem>fun\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That \u003cem>Shrill\u003c/em> was able to give us that for three seasons is something to treasure, alright. But it’s also not enough—especially when Annie Easton taught us so righteously to always, \u003cem>always\u003c/em> ask for more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
"headTitle": "Bo Burnham’s ‘Inside’ is a Musical Fantasy About Terrible Realities | KQED",
"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\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=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\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/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\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=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Documentaries You Should Watch About the Tulsa Race Massacre",
"headTitle": "3 Documentaries You Should Watch About the Tulsa Race Massacre | KQED",
"content": "\u003cp>If all you know about the \u003ca href=\"https://www.tulsahistory.org/exhibit/1921-tulsa-race-massacre/\" target=\"_blank\" rel=\"noopener noreferrer\">Tulsa Race Massacre\u003c/a> is the re-creations of the attack featured in HBO series like \u003ca href=\"https://www.npr.org/2019/10/22/771998690/watchmen-creator-damon-lindelof-not-talking-about-race-felt-irresponsible\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/03/30/982668346/lovecraft-country-creator-aims-to-reclaim-the-horror-genre-for-people-of-color\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, prepare yourself for a serious education over the next few weeks.\u003c/p>\n\u003cp>Monday marked the 100th anniversary for one of the worst acts of racial violence in American history, the Tulsa Race Massacre. Back in 1921, a mob of white people tore down and burned the Greenwood district of Tulsa, Okla.—a segregated part of the city so prosperous and bustling, it was known as Black Wall Street.\u003c/p>\n\u003cp>[aside postid='arts_13881199']According to some historians, over 1,200 homes and buildings were \u003ca href=\"https://www.tulsalibrary.org/tulsa-race-riot-1921\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed by the violence,\u003c/a> killing between 100 and 300 people. But thanks to white-dominated power structures in the city of Tulsa and state of Oklahoma, news about the massacre was wiped from many official sources for decades (several fans of \u003cem>Watchmen\u003c/em> and \u003cem>Lovecraft Country\u003c/em> have told me they had never heard of the massacre before these fictional TV shows dramatized the attack during their episodes last year and in 2019).\u003c/p>\n\u003cp>All that will likely change over the next week and beyond, as a flood of programs centered on the Tulsa Race Massacre come to television. From enterprise reporting efforts at ABC, CBS and NBC to projects on National Geographic, CNN, The History Channel and PBS, there are a wide array of documentary films and TV programs aimed at reminding Americans just how deadly unchecked racism can be.\u003c/p>\n\u003cp>After watching the films offered by \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">The History Channel\u003c/a>, \u003ca href=\"https://www.cnn.com/shows/dreamland-cnn-films\" target=\"_blank\" rel=\"noopener noreferrer\">CNN\u003c/a> and \u003ca href=\"https://www.pbs.org/show/tulsa-fire-and-forgotten/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, I saw common themes emerge. First was the power of white society to control what history is recognized, to erase uncomfortable truths and resist efforts to dig up the truth (sometimes literally, as when officials ended early attempts to find mass graves of massacre victims in 1999). Several films featured comments from longtime white residents of Tulsa, including its current mayor, G.T. Bynum, who said they didn’t even learn the Tulsa Race Massacre had happened until they were adults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such insistence on erasing Black pain from a community’s official history creates, by necessity, a shadow history kept among people of color and passed along, often by word of mouth. White America may have tried to forget Tulsa, but the massacre’s details lived in the stories of Black survivors and their descendants, handed down like bitter family heirlooms.\u003c/p>\n\u003cp>(Even worse, for a journalist like me, was to realize the role the media played back then—both in whipping up white fears about Black people through horrifically racist films and newspaper stories, while disappearing news of attacks and lynchings once white people took action.)\u003c/p>\n\u003cp>The second painful truth was the lasting damage such attacks can have on a people. According to CNN’s film, 191 Black-owned businesses stood in the Greenwood district before the massacre, including one of the finest hotels in the country. These days, there are fewer than a dozen Black-owned businesses in that same area, now reduced to a block-long main drag with modest establishments like a barbershop, health clinic and coffee shop.\u003c/p>\n\u003cp>Generations of Black wealth were erased in the massacre. Tulsa’s racial segregation and the struggle of its Black community remains.\u003c/p>\n\u003cp>Some people pop up in multiple documentaries, including the \u003ca href=\"http://robertturnerministries.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Robert Turner,\u003c/a> the sharp-dressing pastor of Historic Vernon AME Church. His church’s basement hid survivors of the massacre 100 years ago; more recently, Turner is shown regularly visiting Tulsa’s City Hall with a bullhorn, reminding residents of the need for memory and reparations.\u003c/p>\n\u003cp>“Pastoring a church where the members died and the survivors never saw justice, that aggravated my spirit,” Turner says in the \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">History Channel documentary\u003c/a>. “It’s an embarrassment that we have never had a district attorney investigate the worst crime in this city’s history.”\u003c/p>\n\u003cp>[aside postid='arts_13890558']Historian Hannibal B. Johnson talks about how Black people enslaved by Native Americans were freed and given land, forming the early basis for the Greenwood district’s wealth. And several experts also speak of the effort to find the rumored unmarked mass graves where Black people who were killed in the massacre may have been interred.\u003c/p>\n\u003cp>Most importantly, the films show how history’s broad trends can feed into a singular disaster. As Southern states ratcheted up racialized violence and racially oppressive laws to snatch back Black voting rights, a generation of Black veterans who had served America in World War I were no longer willing to accept the indignities of indiscriminate racial oppression.\u003c/p>\n\u003cp>When a large group of Black people showed up in Tulsa to stop the lynching of a young Black man unfairly accused of sexually assaulting a white female elevator operator—white crowds had been incited by incendiary, \u003ca href=\"https://www.okhistory.org/learn/trm3\" target=\"_blank\" rel=\"noopener noreferrer\">unfair coverage from\u003c/a> \u003cem>The Tulsa Tribune\u003c/em>—a white man tried to grab a gun from a Black man. A struggle ensued, the gun went off, and the white mob had their excuse to obliterate Black Wall Street over two days of brutal violence.\u003c/p>\n\u003cp>Here are capsule reviews of three powerful films I found most compelling, from The History Channel, CNN and PBS. Watch at least one of them to learn the kind of American history that should have been taught in classrooms and from schoolbooks nationwide for the past 100 years.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa Burning: The 1921 Race Massacre,\u003c/strong>\u003c/em>\u003cstrong> airing on The History Channel (May 30)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bHrQouNrzBI&t=1s\u003c/p>\n\u003cp>This is easily the most cinematic of the three documentaries—small surprise, given its pedigree. Co-directed and executive produced by Emmy-winner \u003ca href=\"https://www.npr.org/2018/02/18/586958598/-tell-them-we-are-rising-tackles-impact-of-historically-black-colleges\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Nelson\u003c/a> (\u003ca href=\"https://www.npr.org/2011/05/05/136025553/freedom-riders-risked-their-lives-for-equality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Freedom Riders\u003c/em>\u003c/a>), the film is also executive produced by NBA superstar Russell Westbrook, featuring original music from Branford Marsalis. The story begins with words from Rev. Turner’s bullhorn, unspooling into an epic tale of how Black people migrated to Tulsa and built a bustling, successful business district, keeping dollars in the Black community until two days of mob violence destroyed it all. Archival footage of Greenwood, looking impossibly clear and vivid, appears next to photos and inspired commentary from experts like \u003cem>The New York Times\u003c/em> columnist Brent Staples and historian Scott Ellsworth. The result is a detailed, evocative story of the massacre and its connection to modern Tulsa, including a renewed, modern effort to find mass graves. This compelling film is also paired with a six-part podcast produced by The History Channel and WNYC Studios in collaboration with KOSU public radio in Oklahoma, dubbed \u003ca href=\"https://www.wnycstudios.org/podcasts/blindspot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blindspot: Tulsa Burning\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dreamland: The Burning of Black Wall Street, \u003c/strong>\u003c/em>\u003cstrong>debuting on CNN and streaming on HBO Max (May 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bkz0dcqr3w8&t=1s\u003c/p>\n\u003cp>This film features another NBA star, LeBron James, as an executive producer, adding evocative animation sequences to newsreel footage and archival photos to re-create scenes from 100 years ago. CNN’s film traces a history similar to \u003cem>Tulsa Burning\u003c/em>, bringing cameras to modern Tulsa’s modest Greenwood district to show off small businesses continuing a historic legacy, as detailed maps display how much the area has shrunk from its successful heights 100 years ago. While Black people in 1921 enjoyed a community one expert says was like Bourbon Street, Harlem and Washington D.C. rolled into one, racist and resentful white Tulsans used pejorative phrases like “Little Africa” and “N*****town” to describe the area. Named for a popular theater in the Greenwood district, \u003cem>Dreamland\u003c/em> uses actors to read powerful quotes from politicians and publications of the time, including Tulsa’s mayor during the massacre, T. D. Evans, who blamed the Black victims of the attack for “instigating” a “negro uprising.” Rev. Turner also shows up here, pointing out areas in his church’s basement where victims huddled while the top floors of the church were destroyed. “I believe there is no expiration date on morality,” the pastor says, explaining why he remains an aggressive advocate for uncovering the mass graves and finding justice for the city’s Black community.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa: The Fire and the Forgotten,\u003c/strong>\u003c/em>\u003cstrong> premiering on PBS (May 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=diyUd6vsRV0\u003c/p>\n\u003cp>For a more personal story, consider this film, focused on the work of longtime \u003cem>Washington Post\u003c/em> journalist DeNeen L. Brown, \u003ca href=\"https://www.washingtonpost.com/people/deneen-l-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">whose reporting\u003c/a> on the Tulsa Race Massacre has spread word about the history of the attack. Brown, whose father lives in Tulsa and is a pastor at a Baptist church in town, is shown interviewing descendants of attack victims and experts leading the modern effort to find and exhume unmarked graves. She also serves as a producer on the film, alongside human rights investigator Eric Stover, who is featured in interviews as an expert source; the film is narrated by NPR’s own Michel Martin, weekend host of\u003cem> All Things Considered\u003c/em>. Viewers learn of failed efforts to sue the government for failing to protect the community—descendants were told the statute of limitations had passed. And the film shows how graphic photos of the destruction were turned into postcards and distributed by some white people. Here, the search for evidence of unmarked graves is presented as a bit of a cliffhanger, as experts work to identify likely areas for the remains, hoping to prove they are the discarded bodies of massacre victims. “Oftentimes, Black people are called on camera after something racist occurs to explain racism … to explain what happened,” Brown says in one moment. “But I can’t explain why white people hate Black people so much.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the web by Eric Deggans and Petra Mayer.\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=3+Documentaries+You+Should+Watch+About+The+Tulsa+Race+Massacre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If all you know about the \u003ca href=\"https://www.tulsahistory.org/exhibit/1921-tulsa-race-massacre/\" target=\"_blank\" rel=\"noopener noreferrer\">Tulsa Race Massacre\u003c/a> is the re-creations of the attack featured in HBO series like \u003ca href=\"https://www.npr.org/2019/10/22/771998690/watchmen-creator-damon-lindelof-not-talking-about-race-felt-irresponsible\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/03/30/982668346/lovecraft-country-creator-aims-to-reclaim-the-horror-genre-for-people-of-color\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, prepare yourself for a serious education over the next few weeks.\u003c/p>\n\u003cp>Monday marked the 100th anniversary for one of the worst acts of racial violence in American history, the Tulsa Race Massacre. Back in 1921, a mob of white people tore down and burned the Greenwood district of Tulsa, Okla.—a segregated part of the city so prosperous and bustling, it was known as Black Wall Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to some historians, over 1,200 homes and buildings were \u003ca href=\"https://www.tulsalibrary.org/tulsa-race-riot-1921\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed by the violence,\u003c/a> killing between 100 and 300 people. But thanks to white-dominated power structures in the city of Tulsa and state of Oklahoma, news about the massacre was wiped from many official sources for decades (several fans of \u003cem>Watchmen\u003c/em> and \u003cem>Lovecraft Country\u003c/em> have told me they had never heard of the massacre before these fictional TV shows dramatized the attack during their episodes last year and in 2019).\u003c/p>\n\u003cp>All that will likely change over the next week and beyond, as a flood of programs centered on the Tulsa Race Massacre come to television. From enterprise reporting efforts at ABC, CBS and NBC to projects on National Geographic, CNN, The History Channel and PBS, there are a wide array of documentary films and TV programs aimed at reminding Americans just how deadly unchecked racism can be.\u003c/p>\n\u003cp>After watching the films offered by \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">The History Channel\u003c/a>, \u003ca href=\"https://www.cnn.com/shows/dreamland-cnn-films\" target=\"_blank\" rel=\"noopener noreferrer\">CNN\u003c/a> and \u003ca href=\"https://www.pbs.org/show/tulsa-fire-and-forgotten/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, I saw common themes emerge. First was the power of white society to control what history is recognized, to erase uncomfortable truths and resist efforts to dig up the truth (sometimes literally, as when officials ended early attempts to find mass graves of massacre victims in 1999). Several films featured comments from longtime white residents of Tulsa, including its current mayor, G.T. Bynum, who said they didn’t even learn the Tulsa Race Massacre had happened until they were adults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such insistence on erasing Black pain from a community’s official history creates, by necessity, a shadow history kept among people of color and passed along, often by word of mouth. White America may have tried to forget Tulsa, but the massacre’s details lived in the stories of Black survivors and their descendants, handed down like bitter family heirlooms.\u003c/p>\n\u003cp>(Even worse, for a journalist like me, was to realize the role the media played back then—both in whipping up white fears about Black people through horrifically racist films and newspaper stories, while disappearing news of attacks and lynchings once white people took action.)\u003c/p>\n\u003cp>The second painful truth was the lasting damage such attacks can have on a people. According to CNN’s film, 191 Black-owned businesses stood in the Greenwood district before the massacre, including one of the finest hotels in the country. These days, there are fewer than a dozen Black-owned businesses in that same area, now reduced to a block-long main drag with modest establishments like a barbershop, health clinic and coffee shop.\u003c/p>\n\u003cp>Generations of Black wealth were erased in the massacre. Tulsa’s racial segregation and the struggle of its Black community remains.\u003c/p>\n\u003cp>Some people pop up in multiple documentaries, including the \u003ca href=\"http://robertturnerministries.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Robert Turner,\u003c/a> the sharp-dressing pastor of Historic Vernon AME Church. His church’s basement hid survivors of the massacre 100 years ago; more recently, Turner is shown regularly visiting Tulsa’s City Hall with a bullhorn, reminding residents of the need for memory and reparations.\u003c/p>\n\u003cp>“Pastoring a church where the members died and the survivors never saw justice, that aggravated my spirit,” Turner says in the \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">History Channel documentary\u003c/a>. “It’s an embarrassment that we have never had a district attorney investigate the worst crime in this city’s history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Historian Hannibal B. Johnson talks about how Black people enslaved by Native Americans were freed and given land, forming the early basis for the Greenwood district’s wealth. And several experts also speak of the effort to find the rumored unmarked mass graves where Black people who were killed in the massacre may have been interred.\u003c/p>\n\u003cp>Most importantly, the films show how history’s broad trends can feed into a singular disaster. As Southern states ratcheted up racialized violence and racially oppressive laws to snatch back Black voting rights, a generation of Black veterans who had served America in World War I were no longer willing to accept the indignities of indiscriminate racial oppression.\u003c/p>\n\u003cp>When a large group of Black people showed up in Tulsa to stop the lynching of a young Black man unfairly accused of sexually assaulting a white female elevator operator—white crowds had been incited by incendiary, \u003ca href=\"https://www.okhistory.org/learn/trm3\" target=\"_blank\" rel=\"noopener noreferrer\">unfair coverage from\u003c/a> \u003cem>The Tulsa Tribune\u003c/em>—a white man tried to grab a gun from a Black man. A struggle ensued, the gun went off, and the white mob had their excuse to obliterate Black Wall Street over two days of brutal violence.\u003c/p>\n\u003cp>Here are capsule reviews of three powerful films I found most compelling, from The History Channel, CNN and PBS. Watch at least one of them to learn the kind of American history that should have been taught in classrooms and from schoolbooks nationwide for the past 100 years.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa Burning: The 1921 Race Massacre,\u003c/strong>\u003c/em>\u003cstrong> airing on The History Channel (May 30)\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/bHrQouNrzBI'\n title='//www.youtube.com/embed/bHrQouNrzBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is easily the most cinematic of the three documentaries—small surprise, given its pedigree. Co-directed and executive produced by Emmy-winner \u003ca href=\"https://www.npr.org/2018/02/18/586958598/-tell-them-we-are-rising-tackles-impact-of-historically-black-colleges\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Nelson\u003c/a> (\u003ca href=\"https://www.npr.org/2011/05/05/136025553/freedom-riders-risked-their-lives-for-equality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Freedom Riders\u003c/em>\u003c/a>), the film is also executive produced by NBA superstar Russell Westbrook, featuring original music from Branford Marsalis. The story begins with words from Rev. Turner’s bullhorn, unspooling into an epic tale of how Black people migrated to Tulsa and built a bustling, successful business district, keeping dollars in the Black community until two days of mob violence destroyed it all. Archival footage of Greenwood, looking impossibly clear and vivid, appears next to photos and inspired commentary from experts like \u003cem>The New York Times\u003c/em> columnist Brent Staples and historian Scott Ellsworth. The result is a detailed, evocative story of the massacre and its connection to modern Tulsa, including a renewed, modern effort to find mass graves. This compelling film is also paired with a six-part podcast produced by The History Channel and WNYC Studios in collaboration with KOSU public radio in Oklahoma, dubbed \u003ca href=\"https://www.wnycstudios.org/podcasts/blindspot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blindspot: Tulsa Burning\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dreamland: The Burning of Black Wall Street, \u003c/strong>\u003c/em>\u003cstrong>debuting on CNN and streaming on HBO Max (May 31)\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/bkz0dcqr3w8'\n title='//www.youtube.com/embed/bkz0dcqr3w8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This film features another NBA star, LeBron James, as an executive producer, adding evocative animation sequences to newsreel footage and archival photos to re-create scenes from 100 years ago. CNN’s film traces a history similar to \u003cem>Tulsa Burning\u003c/em>, bringing cameras to modern Tulsa’s modest Greenwood district to show off small businesses continuing a historic legacy, as detailed maps display how much the area has shrunk from its successful heights 100 years ago. While Black people in 1921 enjoyed a community one expert says was like Bourbon Street, Harlem and Washington D.C. rolled into one, racist and resentful white Tulsans used pejorative phrases like “Little Africa” and “N*****town” to describe the area. Named for a popular theater in the Greenwood district, \u003cem>Dreamland\u003c/em> uses actors to read powerful quotes from politicians and publications of the time, including Tulsa’s mayor during the massacre, T. D. Evans, who blamed the Black victims of the attack for “instigating” a “negro uprising.” Rev. Turner also shows up here, pointing out areas in his church’s basement where victims huddled while the top floors of the church were destroyed. “I believe there is no expiration date on morality,” the pastor says, explaining why he remains an aggressive advocate for uncovering the mass graves and finding justice for the city’s Black community.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa: The Fire and the Forgotten,\u003c/strong>\u003c/em>\u003cstrong> premiering on PBS (May 31)\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/diyUd6vsRV0'\n title='//www.youtube.com/embed/diyUd6vsRV0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For a more personal story, consider this film, focused on the work of longtime \u003cem>Washington Post\u003c/em> journalist DeNeen L. Brown, \u003ca href=\"https://www.washingtonpost.com/people/deneen-l-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">whose reporting\u003c/a> on the Tulsa Race Massacre has spread word about the history of the attack. Brown, whose father lives in Tulsa and is a pastor at a Baptist church in town, is shown interviewing descendants of attack victims and experts leading the modern effort to find and exhume unmarked graves. She also serves as a producer on the film, alongside human rights investigator Eric Stover, who is featured in interviews as an expert source; the film is narrated by NPR’s own Michel Martin, weekend host of\u003cem> All Things Considered\u003c/em>. Viewers learn of failed efforts to sue the government for failing to protect the community—descendants were told the statute of limitations had passed. And the film shows how graphic photos of the destruction were turned into postcards and distributed by some white people. Here, the search for evidence of unmarked graves is presented as a bit of a cliffhanger, as experts work to identify likely areas for the remains, hoping to prove they are the discarded bodies of massacre victims. “Oftentimes, Black people are called on camera after something racist occurs to explain racism … to explain what happened,” Brown says in one moment. “But I can’t explain why white people hate Black people so much.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the web by Eric Deggans and Petra Mayer.\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=3+Documentaries+You+Should+Watch+About+The+Tulsa+Race+Massacre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Friends: The Reunion’ Provides Plenty of Laughs, Actively Avoids the Tough Stuff",
"headTitle": "‘Friends: The Reunion’ Provides Plenty of Laughs, Actively Avoids the Tough Stuff | KQED",
"content": "\u003cp>Watching HBO’s long-awaited \u003cem>Friends: The Reunion\u003c/em>, the thing that strikes you first is that, in many ways, the cast of \u003cem>Friends\u003c/em>—Jennifer Aniston (Rachel), Lisa Kudrow (Phoebe), Courteney Cox (Monica), Matt LeBlanc (Joey), Matthew Perry (Chandler) and David Schwimmer (Ross)—know less about \u003cem>Friends\u003c/em> than the fans do.\u003c/p>\n\u003cp>At one point, Aniston asks Schwimmer, “Do you remember the episode with the ball and you couldn’t drop the ball?” And he frowns and looks confused because he has zero memory of it whatsoever. That season five episode is literally called “The One With the Ball.”\u003c/p>\n\u003cp>[aside postid='pop_108851']At another point, LeBlanc tells Perry he kept the ball from Joey and Chandler’s foosball table as a souvenir from their time on the show. “You should’ve taken the table,” Perry replies, as if the destruction of that table wasn’t a prominent storyline in Friends’ very last episode, “The One Where They Say Goodbye.”\u003c/p>\n\u003cp>Most annoyingly, the entire cast happily concludes that, in 10 seasons—the show ran between 1994 and 2004—\u003cem>Friends\u003c/em> never once revealed what Chandler did for a living. It makes sense that neither Kudrow nor Perry would know this—both admit, mid-reunion, to having never watched the whole show. But absolutely no one else remembers that Chandler worked in “data reconfiguration and statistical factoring.” (If you don’t believe me, check “\u003ca href=\"https://movies.stackexchange.com/questions/78832/what-was-chandler-bings-job\" target=\"_blank\" rel=\"noopener noreferrer\">The One With the Cooking Class\u003c/a>” from season eight and “\u003ca href=\"https://www.youtube.com/watch?v=Z4gjQ8_Gvu4\" target=\"_blank\" rel=\"noopener noreferrer\">The One Where Rachel Goes Back to Work\u003c/a>” from season nine. It’s \u003cem>right there\u003c/em>, people!)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYM1uQ7QrTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As you can probably tell, I am, against my better judgment, a big fan of \u003cem>Friends\u003c/em>. I know its overwhelming whiteness is hideous, particularly for a show set in New York City. And I dislike immensely that it’s so consistently drenched in what \u003cem>Honest Trailers\u003c/em> once accurately referred to as a “\u003ca href=\"https://www.youtube.com/watch?v=oqDSrMK_Gyg\" target=\"_blank\" rel=\"noopener noreferrer\">thin layer of gay panic\u003c/a>.” Don’t even get me started on Joey’s tendency towards casual sexual predation. For some reason though, like a moldy old security blanket from childhood, I just can’t seem to let \u003cem>Friends\u003c/em> go. And there are millions of other humans around the world just like me. As this special episode notes, the show is estimated to have been watched more than “100 billion times across platforms.”\u003c/p>\n\u003cp>[aside postid='pop_105499']I—and most everybody that still cares enough about this 27-year-old show to tune into a nearly-two-hour special about it—recovered months ago from the fact that this wasn’t a sitcom reunion in the traditional sense. It has been said repeatedly—and it’s reiterated during \u003cem>The Reunion\u003c/em>, lest we get any ideas—that there will never, ever be another episode of \u003cem>Friends\u003c/em>. So what we have to settle for here, instead, is six entertaining people who used to play six hilarious characters, appearing together for the first time in public since 2004 and making each other laugh.\u003c/p>\n\u003cp>The interview with James Cordon is distinctly so-so—except during one genuinely funny portion where David Schwimmer angrily vents about how much he hated working with Marcel the monkey in season one. (“I would like you to be more serious about this,” Perry quips.) So too is a living room trivia quiz (based on the one from Cox’s favorite episode, “The One With the Embryos”) more contrived than it ought to be. There is, however, something genuinely moving about seeing the reunited cast on their old set, verklempt and reminiscing about old times. It’s in these more candid moments that some of the interesting behind-the-scenes tidbits emerge. (The graffiti LeBlanc left on the set after the final episode is a particular treat.)\u003c/p>\n\u003cp>Many of the most insightful revelations unfold, not via the cast, but rather through documentary-style interviews with \u003cem>Friends\u003c/em>’ creators, writers and producers, Kevin Bright, Marta Kauffman and David Crane. These encompass the original inspiration for the show, casting decisions, and on-the-fly plot pivots. (\u003ca href=\"https://www.google.com/search?q=friends+pivot+gif&rlz=1C5GCEA_enUS937US938&tbm=isch&source=iu&ictx=1&fir=kxLUKN6BoGo40M%252Cz62Kzgv2JUFq1M%252C_&vet=1&usg=AI4_-kSjosDbXMEC6gEzAiLAY6Z1UzGjIw&sa=X&ved=2ahUKEwiZkqyhtunwAhXGjp4KHWywCZ0Q9QF6BAgUEAE#imgrc=kxLUKN6BoGo40M\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PIVOT!\u003c/em>\u003c/a>) When Bright reveals he only discovered Lisa Kudrow because she’d made an appearance on \u003cem>Mad About You\u003c/em> while his husband was writing for it, you appreciate just how precarious the show’s successful chemistry was. Also testament to that is the fact that the guy Joey tries to pass off as his identical twin in “The One With Unagi” was played by an actor who very nearly got the part of Joey himself.\u003c/p>\n\u003cp>Padding out all of this are a wealth of delightful appearances from former cast members. These include Reese Witherspoon (who played Rachel’s sister Jill), Tom Selleck (Monica’s boyfriend Richard), Christina Pickles and Elliott Gould (Ross and Monica’s parents), Maggie Wheeler (Janice!), James Michael Tyler (Gunther!), Thomas Lennon (Joey’s identical hand twin!) and Mr. Heckles himself, Larry Hankin. Paul Rudd is a glaring, unexplained absence difficult not to be bummed out about.\u003c/p>\n\u003cp>But the cameos don’t stop there. Justin Bieber makes an appearance that will have you \u003cem>really\u003c/em> liking Justin Bieber. Cindy Crawford shows up. So does BTS. And when Cara Delevingne emerges, Jennifer Aniston’s jaw literally drops. On top of that, David Beckham, Mindy Kaling, Kit Harington and Malala Yousafzai pick their favorite episodes. Oh, and the musical guest who shows up to sing “Smelly Cat” with Lisa Kudrow is so special, I don’t even wanna spoil it.\u003c/p>\n\u003cp>So yes, this reunion is an enormous amount of fun. And there is plenty for fans to chew on here. Plus, of course, the warmth between the former castmates all these years later is legitimately a joy to behold. But where the reunion stumbles is in its unwavering commitment to keeping things light. Especially since Perry in particular seems genuinely overwhelmed by memories of that period in his life. He talks the least out of anyone else on set, and his occasionally slumped posture and difficulty enunciating hint at darker things going on beneath the surface. Occasionally, he tries to acknowledge them out loud, but these moments quickly pass.\u003c/p>\n\u003cp>[aside postid='pop_106765']“I felt like I was gonna die if they didn’t laugh,” Perry says of the anxiety he experienced performing in front of a live studio audience every week. “I would sometimes say a line and they wouldn’t laugh and I would sweat and go into convulsions.” Kudrow seems genuinely upset to only be hearing about this a quarter of a century after the fact. But rather than delving into whether or not this was a factor in Perry’s well-publicized struggles with addiction, \u003cem>Friends: The Reunion\u003c/em> rushes on to the next happier, shinier thing.\u003c/p>\n\u003cp>It should come as no surprise then, that \u003cem>The Reunion\u003c/em> makes zero attempt to tackle the criticisms \u003cem>Friends\u003c/em> now regularly receives around its lack of diversity and inclusion. Worse, it doesn’t feel like a coincidence that, in a mid-show segment featuring fans from around the globe, 11 out of 13 of them are either folks of color or members of the LGBTQ community. Though these fans’ stories are genuinely moving, the segment feels like a cynical attempt by producers to convince modern viewers that \u003cem>Friends\u003c/em> wasn’t so straight and white after all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, what \u003cem>Friends: The Reunion\u003c/em> does very well is what the sitcom itself excelled at: glossing over anything important or serious, and instead offering viewers something ridiculous to laugh at. And in that regard, it absolutely succeeds. Fans will undoubtedly want to watch this more than once. It’s just a shame the special doesn’t give its critics any reason to tune in.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watching HBO’s long-awaited \u003cem>Friends: The Reunion\u003c/em>, the thing that strikes you first is that, in many ways, the cast of \u003cem>Friends\u003c/em>—Jennifer Aniston (Rachel), Lisa Kudrow (Phoebe), Courteney Cox (Monica), Matt LeBlanc (Joey), Matthew Perry (Chandler) and David Schwimmer (Ross)—know less about \u003cem>Friends\u003c/em> than the fans do.\u003c/p>\n\u003cp>At one point, Aniston asks Schwimmer, “Do you remember the episode with the ball and you couldn’t drop the ball?” And he frowns and looks confused because he has zero memory of it whatsoever. That season five episode is literally called “The One With the Ball.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At another point, LeBlanc tells Perry he kept the ball from Joey and Chandler’s foosball table as a souvenir from their time on the show. “You should’ve taken the table,” Perry replies, as if the destruction of that table wasn’t a prominent storyline in Friends’ very last episode, “The One Where They Say Goodbye.”\u003c/p>\n\u003cp>Most annoyingly, the entire cast happily concludes that, in 10 seasons—the show ran between 1994 and 2004—\u003cem>Friends\u003c/em> never once revealed what Chandler did for a living. It makes sense that neither Kudrow nor Perry would know this—both admit, mid-reunion, to having never watched the whole show. But absolutely no one else remembers that Chandler worked in “data reconfiguration and statistical factoring.” (If you don’t believe me, check “\u003ca href=\"https://movies.stackexchange.com/questions/78832/what-was-chandler-bings-job\" target=\"_blank\" rel=\"noopener noreferrer\">The One With the Cooking Class\u003c/a>” from season eight and “\u003ca href=\"https://www.youtube.com/watch?v=Z4gjQ8_Gvu4\" target=\"_blank\" rel=\"noopener noreferrer\">The One Where Rachel Goes Back to Work\u003c/a>” from season nine. It’s \u003cem>right there\u003c/em>, people!)\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/uYM1uQ7QrTc'\n title='//www.youtube.com/embed/uYM1uQ7QrTc'\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>As you can probably tell, I am, against my better judgment, a big fan of \u003cem>Friends\u003c/em>. I know its overwhelming whiteness is hideous, particularly for a show set in New York City. And I dislike immensely that it’s so consistently drenched in what \u003cem>Honest Trailers\u003c/em> once accurately referred to as a “\u003ca href=\"https://www.youtube.com/watch?v=oqDSrMK_Gyg\" target=\"_blank\" rel=\"noopener noreferrer\">thin layer of gay panic\u003c/a>.” Don’t even get me started on Joey’s tendency towards casual sexual predation. For some reason though, like a moldy old security blanket from childhood, I just can’t seem to let \u003cem>Friends\u003c/em> go. And there are millions of other humans around the world just like me. As this special episode notes, the show is estimated to have been watched more than “100 billion times across platforms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I—and most everybody that still cares enough about this 27-year-old show to tune into a nearly-two-hour special about it—recovered months ago from the fact that this wasn’t a sitcom reunion in the traditional sense. It has been said repeatedly—and it’s reiterated during \u003cem>The Reunion\u003c/em>, lest we get any ideas—that there will never, ever be another episode of \u003cem>Friends\u003c/em>. So what we have to settle for here, instead, is six entertaining people who used to play six hilarious characters, appearing together for the first time in public since 2004 and making each other laugh.\u003c/p>\n\u003cp>The interview with James Cordon is distinctly so-so—except during one genuinely funny portion where David Schwimmer angrily vents about how much he hated working with Marcel the monkey in season one. (“I would like you to be more serious about this,” Perry quips.) So too is a living room trivia quiz (based on the one from Cox’s favorite episode, “The One With the Embryos”) more contrived than it ought to be. There is, however, something genuinely moving about seeing the reunited cast on their old set, verklempt and reminiscing about old times. It’s in these more candid moments that some of the interesting behind-the-scenes tidbits emerge. (The graffiti LeBlanc left on the set after the final episode is a particular treat.)\u003c/p>\n\u003cp>Many of the most insightful revelations unfold, not via the cast, but rather through documentary-style interviews with \u003cem>Friends\u003c/em>’ creators, writers and producers, Kevin Bright, Marta Kauffman and David Crane. These encompass the original inspiration for the show, casting decisions, and on-the-fly plot pivots. (\u003ca href=\"https://www.google.com/search?q=friends+pivot+gif&rlz=1C5GCEA_enUS937US938&tbm=isch&source=iu&ictx=1&fir=kxLUKN6BoGo40M%252Cz62Kzgv2JUFq1M%252C_&vet=1&usg=AI4_-kSjosDbXMEC6gEzAiLAY6Z1UzGjIw&sa=X&ved=2ahUKEwiZkqyhtunwAhXGjp4KHWywCZ0Q9QF6BAgUEAE#imgrc=kxLUKN6BoGo40M\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PIVOT!\u003c/em>\u003c/a>) When Bright reveals he only discovered Lisa Kudrow because she’d made an appearance on \u003cem>Mad About You\u003c/em> while his husband was writing for it, you appreciate just how precarious the show’s successful chemistry was. Also testament to that is the fact that the guy Joey tries to pass off as his identical twin in “The One With Unagi” was played by an actor who very nearly got the part of Joey himself.\u003c/p>\n\u003cp>Padding out all of this are a wealth of delightful appearances from former cast members. These include Reese Witherspoon (who played Rachel’s sister Jill), Tom Selleck (Monica’s boyfriend Richard), Christina Pickles and Elliott Gould (Ross and Monica’s parents), Maggie Wheeler (Janice!), James Michael Tyler (Gunther!), Thomas Lennon (Joey’s identical hand twin!) and Mr. Heckles himself, Larry Hankin. Paul Rudd is a glaring, unexplained absence difficult not to be bummed out about.\u003c/p>\n\u003cp>But the cameos don’t stop there. Justin Bieber makes an appearance that will have you \u003cem>really\u003c/em> liking Justin Bieber. Cindy Crawford shows up. So does BTS. And when Cara Delevingne emerges, Jennifer Aniston’s jaw literally drops. On top of that, David Beckham, Mindy Kaling, Kit Harington and Malala Yousafzai pick their favorite episodes. Oh, and the musical guest who shows up to sing “Smelly Cat” with Lisa Kudrow is so special, I don’t even wanna spoil it.\u003c/p>\n\u003cp>So yes, this reunion is an enormous amount of fun. And there is plenty for fans to chew on here. Plus, of course, the warmth between the former castmates all these years later is legitimately a joy to behold. But where the reunion stumbles is in its unwavering commitment to keeping things light. Especially since Perry in particular seems genuinely overwhelmed by memories of that period in his life. He talks the least out of anyone else on set, and his occasionally slumped posture and difficulty enunciating hint at darker things going on beneath the surface. Occasionally, he tries to acknowledge them out loud, but these moments quickly pass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I felt like I was gonna die if they didn’t laugh,” Perry says of the anxiety he experienced performing in front of a live studio audience every week. “I would sometimes say a line and they wouldn’t laugh and I would sweat and go into convulsions.” Kudrow seems genuinely upset to only be hearing about this a quarter of a century after the fact. But rather than delving into whether or not this was a factor in Perry’s well-publicized struggles with addiction, \u003cem>Friends: The Reunion\u003c/em> rushes on to the next happier, shinier thing.\u003c/p>\n\u003cp>It should come as no surprise then, that \u003cem>The Reunion\u003c/em> makes zero attempt to tackle the criticisms \u003cem>Friends\u003c/em> now regularly receives around its lack of diversity and inclusion. Worse, it doesn’t feel like a coincidence that, in a mid-show segment featuring fans from around the globe, 11 out of 13 of them are either folks of color or members of the LGBTQ community. Though these fans’ stories are genuinely moving, the segment feels like a cynical attempt by producers to convince modern viewers that \u003cem>Friends\u003c/em> wasn’t so straight and white after all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, what \u003cem>Friends: The Reunion\u003c/em> does very well is what the sitcom itself excelled at: glossing over anything important or serious, and instead offering viewers something ridiculous to laugh at. And in that regard, it absolutely succeeds. Fans will undoubtedly want to watch this more than once. It’s just a shame the special doesn’t give its critics any reason to tune in.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New 'Master of None' Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable",
"headTitle": "New ‘Master of None’ Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable | KQED",
"content": "\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>[aside postid='pop_98503']But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>[aside postid='arts_11204159']Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\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=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\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>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\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=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Underground Railroad' is a Hard But Beautiful Reflection on Black Pain",
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"content": "\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>[aside postid='arts_13873526']On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>[aside postid='arts_13844783']Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_Pq5Usc_JDA\u003c/p>\n\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>[aside postid='arts_13875290']Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>[aside postid='arts_13895452']There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And that’s always something worth watching.\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=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\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/_Pq5Usc_JDA'\n title='//www.youtube.com/embed/_Pq5Usc_JDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s always something worth watching.\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=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There exists, in some alternate universe, a version of the new HBO Max series \u003cem>Hacks \u003c/em>that is spikier, faster, meaner—and as a result, considerably thinner, less generous and less rewarding—than the one that premieres today.\u003c/p>\n\u003cp>Happily, this one’s pretty great, because it achieves and maintains a delicate balance born out of: 1. Knowing its subject and 2. A determination to treat its two lead characters fairly.\u003c/p>\n\u003cp>There’s a make-or-break moment in the pilot that establishes that balance, that confidence and that generosity all at once: Ava (Hannah Einbinder), a successful young comedy writer fallen on hard times, has been forced by her manager (co-creator Paul W. Downs) to meet legendary standup comic Deborah Vance (Jean Smart) at her Vegas home. Deborah’s Vegas residency is threatened by a casino owner looking to reach a younger audience than Deborah draws, so she reluctantly agrees to the meet.\u003c/p>\n\u003cp>[aside postid='arts_13895500']The battle lines are drawn: Deborah is a comic of the Joan Rivers generation and mindset—her act is full of bawdy zingers at her ex-husband and winking self-deprecation at the prospect of aging. Every joke builds to a punchline that’s been honed to practiced perfection over the years. She’s a consummate pro, even if her references are getting rusty (she’s still going to the Anna Nicole Smith well, for example). There’s an edge to her comedy, sure, but it’s not one so sharp that it threatens to cut any of the thousands of tourists that show up to see her shows between hitting the nickel slots.\u003c/p>\n\u003cp>Ava’s comedy is weirder, more conceptual. Younger. Birthed and fueled by social media, she sees traditional punchlines as a marker of hackdom; they are things to be fled, in favor of, say, “a 25-tweet thread from the perspective of my Lexapro.” She’s also got a set of hackles that get dependably raised by Deborah’s coarser, less enlightened jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wE51pzVpwBg\u003c/p>\n\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>[aside postid='arts_13891872']Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\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=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\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/wE51pzVpwBg'\n title='//www.youtube.com/embed/wE51pzVpwBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\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=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>[aside postid='arts_13837184']The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCtdIC666Ec\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022",
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"content": "\u003cp>TV host Ellen DeGeneres is pulling the plug on her successful daytime TV variety/comedy/talk show at the end of this season. For more than 18 years, she has famously danced with her guests and the audience, played games and pranks with them and given away prizes. She has interviewed everyone from Hollywood A-listers to precocious children. But now, she and Warner Brothers Television have said \u003ca href=\"https://www.ellentube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ellen DeGeneres Show\u003c/em>\u003c/a> will end in 2022.\u003c/p>\n\u003cp>“When you’re a creative person, you constantly need to be challenged,” DeGeneres told \u003cem>The Hollywood Reporter \u003c/em>in an exclusive interview, “and as great as this show is, and as fun as it is, it’s just not a challenge anymore.”\u003c/p>\n\u003cp>She’ll be talking about her decision on her show today. And tomorrow, she’ll sit down with friend and guest Oprah Winfrey to talk some more.\u003c/p>\n\u003cp>[aside postid='arts_13878678']“Although all good things must come to an end, you still have hope that the truly great things never will,” said Mike Darnell, the president of Warner Brothers Unscripted Television, in a statement. He said DeGeneres’ show “started as the little program that could and became an absolute phenomenon. Over the years, it established itself as the premiere destination for both superstars and incredible heartfelt human interest stories. The show and Ellen brought comedy, joy, happiness, comfort (and dancing!) to countless millions every day for 18 years. It was and is an indelible piece of the television landscape, and it will be sorely missed.”\u003c/p>\n\u003cp>The standup comedian began her talk show in 2003, five years after coming out on her sitcom, \u003cem>Ellen,\u003c/em> and \u003ca href=\"https://time.com/4728994/ellen-degeneres-1997-coming-out-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">announcing on the cover of \u003cem>Time \u003c/em>Magazine\u003c/a>: “Yep, I’m Gay.” For that, President Barack Obama bestowed on her the Presidential Medal of Freedom. She’s won the Kennedy Center’s Mark Twain Prize for American Humor, and her television show has earned daytime Emmy awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In sharp contrast to her public image as everyone’s good friend, happy to listen, she presents herself—with tongue in cheek—as cartoonishly aloof and indifferent, stuck in a privileged bubble, cracking several jokes, for instance, about her fabulous wealth,” \u003cem>The New York Times\u003c/em> wrote in a profile of DeGeneres. In the article, her wife, actress Portia de Rossi, encouraged her to move away from her talk show. “I just think she’s such a brilliant actress and stand-up that it doesn’t have to be this talk show for her creativity,” de Rossi said. “There are other things she could tackle.” But DeGeneres said her brother, and Warner Brothers executives, urged her to stay on, saying the audience needed her positivity on TV every day. She signed a new contract.\u003c/p>\n\u003cp>But last year, former and current staffers who remained anonymous claimed that the show was a toxic workplace. They told \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Buzzfeed \u003c/em>\u003c/a>they experienced racist comments, fear and intimidation on set, and some alleged they were sexually harassed by the show’s producers. WarnerMedia investigated, and fired three of the show’s executive producers and the head writer. DeGeneres, who based her persona on urging people to “be kind,” \u003ca href=\"https://www.nbcnews.com/news/all/ellen-degeneres-apologizes-staff-after-reports-toxic-workplace-i-take-n1235443\" target=\"_blank\" rel=\"noopener noreferrer\">apologized to her staff\u003c/a>. In a memo, she wrote that “she intended for her show to be a place where ‘no one would ever raise their voice, and everyone would be treated with respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Egn3CuQRHW8\u003c/p>\n\u003cp>She opened her 18th season in September with an apology to her audience. “I learned that things happened here that never should have happened. I take that very seriously,” she said. “I know that I’m in a position of privilege and power, and I realize that with that comes responsibility, and I take responsibility for what happens at my show.”\u003c/p>\n\u003cp>[aside postid='arts_13884094']DeGeneres said the show was starting a new chapter. “My intention is to always be the best person I can be. And if I’ve ever let someone down, if I’ve ever hurt their feelings, I am so sorry for that. If that’s the case, I have let myself down and I’ve hurt myself as well because I always try to grow as a person. I look at everything that comes into my life is an opportunity to learn. I got into this business to make people laugh and feel good. That’s my favorite thing to do. That, and Jenga.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Brothers says DeGeneres will still continue on Fox’s \u003cem>The Masked Dancer\u003c/em>, NBC’s \u003cem>Ellen’s Game of Games\u003c/em> and HBO Max’s \u003cem>Ellen’s Next Great Designer\u003c/em>. Her Ellen Digital Ventures includes more than 60 original series, including \u003cem>Momsplaining With Kristin Bell\u003c/em>. She is also producing documentaries and specials for Discovery, and according to \u003cem>The Hollywood Reporter,\u003c/em> she is hoping for more acting roles and time for her conservation efforts.\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=Ellen+DeGeneres+Will+End+Her+Daytime+Talk+Show+In+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Although all good things must come to an end, you still have hope that the truly great things never will,” said Mike Darnell, the president of Warner Brothers Unscripted Television, in a statement. He said DeGeneres’ show “started as the little program that could and became an absolute phenomenon. Over the years, it established itself as the premiere destination for both superstars and incredible heartfelt human interest stories. The show and Ellen brought comedy, joy, happiness, comfort (and dancing!) to countless millions every day for 18 years. It was and is an indelible piece of the television landscape, and it will be sorely missed.”\u003c/p>\n\u003cp>The standup comedian began her talk show in 2003, five years after coming out on her sitcom, \u003cem>Ellen,\u003c/em> and \u003ca href=\"https://time.com/4728994/ellen-degeneres-1997-coming-out-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">announcing on the cover of \u003cem>Time \u003c/em>Magazine\u003c/a>: “Yep, I’m Gay.” For that, President Barack Obama bestowed on her the Presidential Medal of Freedom. She’s won the Kennedy Center’s Mark Twain Prize for American Humor, and her television show has earned daytime Emmy awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>DeGeneres said the show was starting a new chapter. “My intention is to always be the best person I can be. And if I’ve ever let someone down, if I’ve ever hurt their feelings, I am so sorry for that. If that’s the case, I have let myself down and I’ve hurt myself as well because I always try to grow as a person. I look at everything that comes into my life is an opportunity to learn. I got into this business to make people laugh and feel good. That’s my favorite thing to do. That, and Jenga.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Brothers says DeGeneres will still continue on Fox’s \u003cem>The Masked Dancer\u003c/em>, NBC’s \u003cem>Ellen’s Game of Games\u003c/em> and HBO Max’s \u003cem>Ellen’s Next Great Designer\u003c/em>. Her Ellen Digital Ventures includes more than 60 original series, including \u003cem>Momsplaining With Kristin Bell\u003c/em>. She is also producing documentaries and specials for Discovery, and according to \u003cem>The Hollywood Reporter,\u003c/em> she is hoping for more acting roles and time for her conservation efforts.\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=Ellen+DeGeneres+Will+End+Her+Daytime+Talk+Show+In+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"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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