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"content": "\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>[aside postid='arts_13895138']“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rHtU7ZkTLyo\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\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+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\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/rHtU7ZkTLyo'\n title='//www.youtube.com/embed/rHtU7ZkTLyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Peacock's 'Girls5eva' is Breezy, Sharp and Just Catchy Enough",
"headTitle": "Peacock’s ‘Girls5eva’ is Breezy, Sharp and Just Catchy Enough | KQED",
"content": "\u003cp>In 2000, MTV dropped the made-for-TV movie \u003cem>2Gether\u003c/em>, a parody about a fictional boy band of the same name and its rival, Whoa. 2Gether consisted of five members, each cast to fit a very specific type, including “the bad boy” and “the heartthrob.” The not-a-real-boy-band boy band eventually became real enough—or rather, popular enough—to spawn a short-lived TV series spin-off and a second album, \u003cem>2Gether Again\u003c/em>. They even did a stint \u003ca href=\"https://ew.com/article/2000/08/15/2gether-talk-about-touring-britney-spears/\" target=\"_blank\" rel=\"noopener noreferrer\">opening for Britney Spears\u003c/a>.\u003c/p>\n\u003cp>It seems doubtful the ladies of Girls5eva, the fictional late-’90s girl group in the new Peacock series \u003cem>Girls5eva\u003c/em>, will be touring with Olivia Rodrigo anytime soon, but they nevertheless share quite a bit of DNA with 2Gether. Created by Meredith Scardino (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>) and starring Sara Bareilles, Renèe Elise Goldsberry, Busy Philipps, and Paula Pell, the comedy follows the group members as they attempt to stage a comeback and rekindle the magic of their heyday 20 years later. It’s steeped in flashbacks poking fun at the same transparently manufactured bubblegum pop scene as that MTV predecessor, and the bonkers Girls5eva song lyrics are kindred spirits of 2Gether—compare “Gonna be famous five-ever/ ‘Cause for-ever’s too short” to, say, “\u003ca href=\"https://www.youtube.com/watch?v=pMWxnjgvUQM#t=00m50s\" target=\"_blank\" rel=\"noopener noreferrer\">I know my calculus/ It says you + me = us.\u003c/a>”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WlUYv_EtEAg\u003c/p>\n\u003cp>The first of eight episodes kicks off when a young rapper named Lil’ Stinker (Jeremiah Craft) samples an old Girls5eva song and invites the defunct group to perform with him on \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em>. The reunion comes at a time when the four remaining members—we learn that fifth member Ashley (Ashley Park), who appears in flashbacks, died in a freak accident involving an Infinity Pool—are in various states of mid-life crises. Dawn (Bareilles) is feeling unfulfilled working in her brother’s restaurant; Gloria (Paula Pell) is a dentist reeling from divorce; Summer (Philipps) is a brand influencer trapped in a one-sided marriage; and Wickie (Goldsberry) has tried desperately to keep up the façade of a glam diva despite secretly being broke and out of work.\u003c/p>\n\u003cp>At first, \u003cem>Girls5eva \u003c/em>relies too heavily on well-worn fodder; unlike \u003cem>2gether—\u003c/em>and later, \u003cem>Josie and the Pussycats \u003c/em>and \u003cem>Popstar: Never Stop Never Stopping—\u003c/em>this satire is 20 years removed from the music genre it’s parodying, and sometimes, that’s more of a flaw than an asset. If silly bits about 9/11, \u003cem>Total Request Live\u003c/em>, and eccentric Swedish music hitmakers were the only things \u003cem>Girls5eva \u003c/em>served up, the enterprise would seem unnecessary, like a sophomore album arriving two decades too late.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet as the season carries on and the writers really latch on to the comedic tension between the past and the present, \u003cem>Girls5eva \u003c/em>blossoms into something beyond a blatant tool for nostalgia aimed squarely at millennials and Gen-Xers raised on a diet of Tina Fey and Fey-adjacent humor. (She and her husband/ frequent collaborator Jeff Richmond serve as two of the executive producers, and \u003cem>their \u003c/em>DNA is all over this, too, from the extremely high joke density to the quirky interstitial music to the very New York City-centric observations.)\u003c/p>\n\u003cp>[aside postid='arts_13890831']The \u003cem>Fallon \u003c/em>appearance inspires the group to give music another go, but they quickly realize their former manager Larry (Jonathan Hadary) was a controlling, exploitative sleazeball cut from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/08/21/490826928/lou-pearlman-backstreet-boys-nsync-boy-bands-dies-in-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Lou Pearlman\u003c/a> cloth, and they don’t own the rights to any of their old songs. They’re also forced to reflect on the content of those songs—which, the show emphasizes, were written by men—and how they may have helped promote misogynistic ideals. One song we hear a brief snippet of is a sexy anthem about being jailbait.\u003c/p>\n\u003cp>And so they set off on their own to write and record a new song, with the goal of performing it at the iHeartRadio Jingle Ball (because why not?), going viral, and putting Girls5eva back on the map.\u003c/p>\n\u003cp>As the women embark on their quest, it’s easy to hop along for the ride. There’s an oddly specific yet accurate running gag in one episode about boys who grow up as only children in New York City, and it gets more ridiculous with every repeated instance. Much of the soundtrack packs a comedic punch and is convincingly catchy, particularly the theme song, which you will not be able to stop singing if you binge multiple episodes in a row.\u003c/p>\n\u003cp>Between the earworms and an array of pitch-perfect guest stars and cameos including Vanessa Williams and Bowen Yang, the central performances by the Girls5eva actresses are the glue. Each character is calibrated to just the right levels of wacky and sincere, and they play off of one another fluidly, embodying their individual “types”—Dawn as the plucky de facto leader, Summer as the group’s clueless Posh Spice whose only job is to “end songs with a sultry feminasty phrase,” Gloria as the uptight workaholic who is openly gay now but was firmly in the closet during Girls5eva’s peak—while finding notes and beats far surpassing shtick.\u003c/p>\n\u003cp>[aside postid='pop_96840']This is especially true of Wickie, the show’s scene-stealer who possesses all of the vanity of \u003cem>30 Rock\u003c/em>‘s Jenna Maroney, but with a bit more heart and warmth. Goldsberry delivers gold anytime she belts out her sentences rather than speaks, which is often; or opines about her celebrity encounters and grand adventures, which is often; or dates a much younger guy, which is brief, but a delight to witness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Girls5eva \u003c/em>will feel familiar in ways both underwhelming and comforting, but the good outweighs the clichèd here. It’s just breezy enough, just sharp enough, and just catchy enough to have you rooting for a comeback.\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=%27Girls5eva%27+Is+Just+Catchy+Enough&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2000, MTV dropped the made-for-TV movie \u003cem>2Gether\u003c/em>, a parody about a fictional boy band of the same name and its rival, Whoa. 2Gether consisted of five members, each cast to fit a very specific type, including “the bad boy” and “the heartthrob.” The not-a-real-boy-band boy band eventually became real enough—or rather, popular enough—to spawn a short-lived TV series spin-off and a second album, \u003cem>2Gether Again\u003c/em>. They even did a stint \u003ca href=\"https://ew.com/article/2000/08/15/2gether-talk-about-touring-britney-spears/\" target=\"_blank\" rel=\"noopener noreferrer\">opening for Britney Spears\u003c/a>.\u003c/p>\n\u003cp>It seems doubtful the ladies of Girls5eva, the fictional late-’90s girl group in the new Peacock series \u003cem>Girls5eva\u003c/em>, will be touring with Olivia Rodrigo anytime soon, but they nevertheless share quite a bit of DNA with 2Gether. Created by Meredith Scardino (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>) and starring Sara Bareilles, Renèe Elise Goldsberry, Busy Philipps, and Paula Pell, the comedy follows the group members as they attempt to stage a comeback and rekindle the magic of their heyday 20 years later. It’s steeped in flashbacks poking fun at the same transparently manufactured bubblegum pop scene as that MTV predecessor, and the bonkers Girls5eva song lyrics are kindred spirits of 2Gether—compare “Gonna be famous five-ever/ ‘Cause for-ever’s too short” to, say, “\u003ca href=\"https://www.youtube.com/watch?v=pMWxnjgvUQM#t=00m50s\" target=\"_blank\" rel=\"noopener noreferrer\">I know my calculus/ It says you + me = us.\u003c/a>”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WlUYv_EtEAg'\n title='//www.youtube.com/embed/WlUYv_EtEAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first of eight episodes kicks off when a young rapper named Lil’ Stinker (Jeremiah Craft) samples an old Girls5eva song and invites the defunct group to perform with him on \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em>. The reunion comes at a time when the four remaining members—we learn that fifth member Ashley (Ashley Park), who appears in flashbacks, died in a freak accident involving an Infinity Pool—are in various states of mid-life crises. Dawn (Bareilles) is feeling unfulfilled working in her brother’s restaurant; Gloria (Paula Pell) is a dentist reeling from divorce; Summer (Philipps) is a brand influencer trapped in a one-sided marriage; and Wickie (Goldsberry) has tried desperately to keep up the façade of a glam diva despite secretly being broke and out of work.\u003c/p>\n\u003cp>At first, \u003cem>Girls5eva \u003c/em>relies too heavily on well-worn fodder; unlike \u003cem>2gether—\u003c/em>and later, \u003cem>Josie and the Pussycats \u003c/em>and \u003cem>Popstar: Never Stop Never Stopping—\u003c/em>this satire is 20 years removed from the music genre it’s parodying, and sometimes, that’s more of a flaw than an asset. If silly bits about 9/11, \u003cem>Total Request Live\u003c/em>, and eccentric Swedish music hitmakers were the only things \u003cem>Girls5eva \u003c/em>served up, the enterprise would seem unnecessary, like a sophomore album arriving two decades too late.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet as the season carries on and the writers really latch on to the comedic tension between the past and the present, \u003cem>Girls5eva \u003c/em>blossoms into something beyond a blatant tool for nostalgia aimed squarely at millennials and Gen-Xers raised on a diet of Tina Fey and Fey-adjacent humor. (She and her husband/ frequent collaborator Jeff Richmond serve as two of the executive producers, and \u003cem>their \u003c/em>DNA is all over this, too, from the extremely high joke density to the quirky interstitial music to the very New York City-centric observations.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Fallon \u003c/em>appearance inspires the group to give music another go, but they quickly realize their former manager Larry (Jonathan Hadary) was a controlling, exploitative sleazeball cut from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/08/21/490826928/lou-pearlman-backstreet-boys-nsync-boy-bands-dies-in-prison\" target=\"_blank\" rel=\"noopener noreferrer\">Lou Pearlman\u003c/a> cloth, and they don’t own the rights to any of their old songs. They’re also forced to reflect on the content of those songs—which, the show emphasizes, were written by men—and how they may have helped promote misogynistic ideals. One song we hear a brief snippet of is a sexy anthem about being jailbait.\u003c/p>\n\u003cp>And so they set off on their own to write and record a new song, with the goal of performing it at the iHeartRadio Jingle Ball (because why not?), going viral, and putting Girls5eva back on the map.\u003c/p>\n\u003cp>As the women embark on their quest, it’s easy to hop along for the ride. There’s an oddly specific yet accurate running gag in one episode about boys who grow up as only children in New York City, and it gets more ridiculous with every repeated instance. Much of the soundtrack packs a comedic punch and is convincingly catchy, particularly the theme song, which you will not be able to stop singing if you binge multiple episodes in a row.\u003c/p>\n\u003cp>Between the earworms and an array of pitch-perfect guest stars and cameos including Vanessa Williams and Bowen Yang, the central performances by the Girls5eva actresses are the glue. Each character is calibrated to just the right levels of wacky and sincere, and they play off of one another fluidly, embodying their individual “types”—Dawn as the plucky de facto leader, Summer as the group’s clueless Posh Spice whose only job is to “end songs with a sultry feminasty phrase,” Gloria as the uptight workaholic who is openly gay now but was firmly in the closet during Girls5eva’s peak—while finding notes and beats far surpassing shtick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is especially true of Wickie, the show’s scene-stealer who possesses all of the vanity of \u003cem>30 Rock\u003c/em>‘s Jenna Maroney, but with a bit more heart and warmth. Goldsberry delivers gold anytime she belts out her sentences rather than speaks, which is often; or opines about her celebrity encounters and grand adventures, which is often; or dates a much younger guy, which is brief, but a delight to witness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Girls5eva \u003c/em>will feel familiar in ways both underwhelming and comforting, but the good outweighs the clichèd here. It’s just breezy enough, just sharp enough, and just catchy enough to have you rooting for a comeback.\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=%27Girls5eva%27+Is+Just+Catchy+Enough&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Falcon and the Winter Soldier' Finale Makes a Poignant Reveal",
"headTitle": "‘The Falcon and the Winter Soldier’ Finale Makes a Poignant Reveal | KQED",
"content": "\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>[aside postid='arts_13891309']The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>[aside postid='arts_13894194']This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>[aside postid='arts_13866218']I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\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+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The final episode of the first season of Marvel's Disney+ series dropped Friday—along with a timely surprise.",
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"description": "The final episode of the first season of Marvel's Disney+ series dropped Friday—along with a timely surprise.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\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+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Q: Into the Storm' Director Unravels the Twisted Knots of the QAnon Movement",
"headTitle": "‘Q: Into the Storm’ Director Unravels the Twisted Knots of the QAnon Movement | KQED",
"content": "\u003cp>The insurrection at the U.S. Capitol on Jan. 6 was predictable if you were following message boards on shadowy corners of the internet.\u003c/p>\n\u003cp>“Yeah, I thought Jan. 6 was going to be really bad,” Cullen Hoback, director of the documentary \u003cem>Q: Into the Storm, \u003c/em>told NPR in a recent interview. “I got hardly any sleep the two nights before it. I was very anxious going into that day.”\u003c/p>\n\u003cp>Hoback followed the growth of the QAnon movement for three years and unravels the twisted knots of the conspiracy theory in a six-part series on HBO. He focuses on the interpersonal drama between those behind the website 8chan (later 8kun), where an enigmatic “Q” posted false conspiracy theories that convinced millions there were nefarious Democratic actors involved in child-trafficking rings.\u003c/p>\n\u003cp>[aside postid='arts_13890913']Spurred on by former President Donald Trump’s false allegations of widespread fraud in the 2020 election that he lost to President Biden, many Q believers were among a larger group of anti-government extremists who stormed the Capitol on Jan. 6 in protest of the usually ceremonial counting of Electoral College votes affirming the election result.\u003c/p>\n\u003cp>The drama in the film develops incrementally as the inner workings of the dark web are explained for an audience unfamiliar with this world—which includes Fredrick Brennan, who created 8chan, and Jim and Ron Watkins, who later take on ownership and administration of the site.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary centers on the rivalry between Brennan and the shadowy father-son duo of Jim and Ron Watkins. Though they once all worked together, Brennan turns and winds up strongly \u003ca href=\"https://www.nytimes.com/2019/08/04/technology/8chan-shooting-manifesto.html\" target=\"_blank\" rel=\"noopener noreferrer\">advocating against 8chan\u003c/a>. He does not believe the Watkinses, who test the bounds of free speech on the internet, are responsible stewards of the site, particularly after episodes of murder and violence that were linked to posters on the site.\u003c/p>\n\u003cp>Through his investigation, Hoback believes he has revealed the identity of Q. Through anonymous “drops,” Q boasted of dates—that never materialized—when the cabal would be toppled. Followers of the movement believed Q must be someone high up in Trump’s inner circle.\u003c/p>\n\u003cp>NPR has not independently verified Q’s identity, but Hoback’s film shows strong evidence that Ron Watkins was Q. He’s not someone particularly special and didn’t have any real ties to Trump, but he is someone who had access and motive.\u003c/p>\n\u003cp>“I hope that by revealing the mechanics behind Q and the personalities behind it,” Hoback said, “that they see that it really is just this kind of absurd cast of characters that created this massive global movement and that it is not this sort of scary mystery box.”\u003c/p>\n\u003cp>The movement grew so large that QAnon supporter Marjorie Taylor Greene, R-Ga., and Lauren Boebert, R-Colo., who “\u003ca href=\"https://www.npr.org/2020/07/01/885991730/gop-candidates-open-to-qanon-conspiracy-theory-advance-in-congressional-races\" target=\"_blank\" rel=\"noopener noreferrer\">expressed openness to Q\u003c/a>” even \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\">won\u003c/a> \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\" target=\"_blank\" rel=\"noopener noreferrer\">seats\u003c/a> in Congress, where they continue to spread misinformation. Greene even \u003ca href=\"https://twitter.com/JakeSherman/status/1383106255930155008\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> tried to start an “America First” caucus that would have focused on “Anglo-Saxon” values. After initially \u003ca href=\"https://twitter.com/groundyourstand/status/1383198051217465346\" target=\"_blank\" rel=\"noopener noreferrer\">seeming to defend it\u003c/a>, \u003ca href=\"https://www.salon.com/2021/04/17/marjorie-taylor-greene-forced-to-abandon-america-first-caucus-after-republican-outrage/\" target=\"_blank\" rel=\"noopener noreferrer\">she backed off\u003c/a> after the effort drew a sharp backlash.\u003c/p>\n\u003cp>Early in her tenure this year, she was stripped of committee assignments and yet, despite her marginalization—or perhaps because of it—she raised $3.2 million in the first three months of this year. It’s a sum that’s not just high for a member of Congress but rivals many Senate candidates.\u003c/p>\n\u003cp>Q hasn’t posted since the election, and many of its followers have been disappointed that its supposed prophecies haven’t come true. So where does the grassroots energy behind the movement, with its distrust of experts and willingness to believe misinformation, go from here?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rK_Gf9H2CWI\u003c/p>\n\u003cp>Hoback talked with NPR about his investigation, what he hopes people take away from it and what it all might mean for the future.\u003c/p>\n\u003cp>\u003cem>The following is a selection of our conversation and was edited for length and clarity:\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>NPR: You were following QAnon far back when most of us—it was under our noses and just didn’t really understand it. Why did you then think that this was an important topic to cover and what drew you to it?\u003c/strong>\u003c/p>\n\u003cp>HOBACK: I thought it was a sign of things to come, both in the ways Q was being managed online, removing Q or suggesting that this thing was something that was too dangerous to be allowed on Reddit. It made me wonder if it actually was going to have the opposite effect, if it was going to make it bigger. To me, it looked like something that was likely to continue to grow. And I was just drawn to the mystery as well. I felt that unmasking Q might bring the whole thing to a conclusion.\u003c/p>\n\u003cp>\u003cstrong>I’m a political editor. Jan. 6 was one of the most harrowing moments in the film. What do you take away from the lead-up to Jan. 6? \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13891014']The day itself, I found to be rather nerve-wracking. I think anybody who had really been tracking what was going on could see that this was the moment in which those power players who had been circling around Q, whether that’s Roger Stone, [retired Maj.] Gen. [Paul] Vallely, [retired] Gen. [Michael] Flynn, Steve Bannon, Alex Jones, Donald Trump, all of these guys, they were all prodding in the runup to Jan. 6 in a way to make the Q narrative real. And there were these overlapping groups that were all driving toward something similar. So I think if you were tracking it closely, you probably would have thought like myself that it was going to be even worse than it was.\u003c/p>\n\u003cp>\u003cstrong>How much fault do you think Ron and Jim deserve for that day? \u003c/strong>\u003c/p>\n\u003cp>Well, I don’t think Jan. 6 happened because of Q, but I also don’t think it would have happened without Q.\u003c/p>\n\u003cp>\u003cstrong>How interconnected was Trump world and Q?\u003c/strong>\u003c/p>\n\u003cp>So I would like for there to be more investigation into the ties between Ron and Jim and some of these power players in D.C.—Gen. Flynn and these other characters. I mean, we’ve seen some forensic evidence, and certainly after the 2016 election, it stands to reason that, given the amount of traffic 8chan was turning to Trump’s own campaign, that they would have reached out. I think the series paints a pretty good case for their ties to these D.C. operatives. But the exact nature of that relationship remains a little unclear.\u003c/p>\n\u003cp>\u003cstrong>Who were some of the key players and how much were they feeding Q information?\u003c/strong>\u003c/p>\n\u003cp>In the series, we show what we know, which is that Jerome Corsi, the known conspiracy theorist, had ties with all of these guys, close ties, and was one of the first to bolster Q. He says that a couple of people he holds very close to him—and we know that he has ties to Vallely—said you need to start paying attention to this. Bring it on Alex Jones’ [show]. Make it bigger.\u003c/p>\n\u003cp>So that would indicate that very early on, some of these ex-military networks saw the value in Q, saw that it was gaining steam and wanted to bolster it. When you talk about the information that’s being funneled, I don’t think there was really any meaningful information being funneled to Q. Q was just basically picking its favorite research out of things that the anons [anonymous posters] were collecting on 8chan and then 8kun, and then reflecting that research, or those ideas or the conspiracy theories back to the anons in the form of questions.\u003c/p>\n\u003cp>So you didn’t have to be Gen. Michael Flynn to write the Q drops. You just needed to be an incredibly engaged and active user of 8chan and very well versed in the research and analysis and all the internet data points that were being collected in order to create that narrative.\u003c/p>\n\u003cp>\u003cstrong>The documentary builds a powerful case that Ron is Q. Ron denies this, but in the documentary, he seems to relish the idea of being suspected. After the election, he comes out of the shadows and begins posting in his own name on Twitter about the election. He even \u003c/strong>\u003ca href=\"https://www.nbcnews.com/tech/internet/trump-meets-qanon-influencers-conspiracy-theory-s-adherents-beg-dictatorship-n1252144\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>appears on OAN\u003c/strong>\u003c/a>\u003cstrong>, the right-wing cable TV platform, to share his false conspiracies about Dominion voting machines. Along with Trump, Ron was banned from Twitter. Tell us more about why you think it’s him.\u003c/strong>\u003c/p>\n\u003cp>There’s so much more evidence I have pointing to Ron than what I was able to keep in the series. There’s mountains of it, including things he said to me since then. That’s part of why it was so valuable to spend this much time with them, because they’re not going to tell me the truth. So the answers lie in the omissions, in how they change their stories, in basically what they’re hiding and then what they eventually sort of choose to reveal.\u003c/p>\n\u003cp>One of the things Ron messaged me after the series dropped, he said, “You know, Cullen, I identify more with villains.” He wrote, “Something I learned a long time ago is that internet personalities are just actors on a stage. Making things larger than life makes for a better story and ultimately a more entertaining existence.” And then he goes on to say, “Getting away from the narrative that Ron is Q will be impossible, so I may as well embrace it.”\u003c/p>\n\u003cp>I think that it’s, like, almost an admission in and of itself. And there have been a few of those since then. You know, I think deep down he wants the credit, but he can’t take it.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people take away from knowing who Q was?\u003c/strong>\u003c/p>\n\u003cp>I think that when you demystify something, it takes away its power. You’re left with the baggage of the man and the motives of the man, and it just changes the equation. You know, if you talk to a Q follower, they could imagine that Q could be any number of things. It could have all of the benefits and none of the cons. And also it allowed them to imagine that there was this massive, super top secret military operation in the works. And I think that the truth matters. I think that it’s important to reveal the forces behind the operation.\u003c/p>\n\u003cp>And I think deep down, most of those who believed in Q wanted to know the truth. Whether or not they’re willing to accept it is another story. I just present them with the information, and they’ll draw their own conclusions. I don’t expect QAnons to watch this and suddenly, be like, “Well, I don’t believe in Q anymore.” The misery of shame is too great. I think that it’s a process, and that story may continue to evolve, but I think, also, the people who’ve seen who’s behind the operation, will they be likely to believe in Q now?\u003c/p>\n\u003cp>\u003cstrong>Have you heard from any Q followers or supporters?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13891257']I have heard from a number of folks, I mean, my DMs on Twitter have been just insane. Some of them had been from Q followers. Some of them have been from family members of Q followers. And I’ve gotten more than a dozen messages now from people who said that, for the first time in a year in some cases, they’re communicating with their family members who were believers in Q. They feel like they understand now what this thing was that they believed in. They can talk about sort of the underlying mechanics and who was behind it.\u003c/p>\n\u003cp>Mileage may vary. I don’t expect that that’s going to be the case for everybody. But anecdotally, there’s been a number of cases now where lines of communication are reopening between those who believe in Q and their family members. I think that’s really important, because I have a lot of Q followers who sometimes just call me in the middle of the night, because they were lonely or because they needed someone to talk to or they just saw me as a grounding force, and I would often tell them, “Look, you need to try to try to talk to your brother, try to find some common ground.”\u003c/p>\n\u003cp>\u003cstrong>Where does this all go from here? What happens to Q followers and the movement?\u003c/strong>\u003c/p>\n\u003cp>You’ve probably seen the \u003ca href=\"https://www.npr.org/sections/inauguration-day-live-updates/2021/01/20/958907699/the-qanon-storm-never-struck-some-supporters-are-wavering-others-steadfast\" target=\"_blank\" rel=\"noopener noreferrer\">Telegram groups\u003c/a>. They’re not that gigantic, maybe 100,000 people or so. And they’re a pretty passionate community. I suspect that it will evolve. It will splinter into factions. Elements of QAnon will be absorbed into the main line of the GOP. But I think Q, as we knew it, will not remain.\u003c/p>\n\u003cp>\u003cstrong>What is the point that you’re most hoping audiences take away from your film? \u003c/strong>\u003c/p>\n\u003cp>I think that the antiseptic of sunlight is a powerful force. And by having people sit down and actually engage with sort of the ugly reality of Q, it also gives them a language. It not only helps them understand what was really happening this whole time, but it also helps a lot of people kind of communicate with those who maybe were on the brink of buying into Q or currently believe in it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not going to be an easy path going forward coexisting with a lot of people who believe in this stuff, but I think that we’re already starting to see that the series is helping families reopen lines of communication now. To me, that’s the most positive outcome I’ve seen so far. And I hope it continues.\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=Q%26A%3A+Documentary+Unravels+Twisted+Knots+Of+QAnon+Movement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Cullen Hoback, who followed QAnon for three years, talks about the group's machinations and \"the antiseptic of sunlight.\" ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The insurrection at the U.S. Capitol on Jan. 6 was predictable if you were following message boards on shadowy corners of the internet.\u003c/p>\n\u003cp>“Yeah, I thought Jan. 6 was going to be really bad,” Cullen Hoback, director of the documentary \u003cem>Q: Into the Storm, \u003c/em>told NPR in a recent interview. “I got hardly any sleep the two nights before it. I was very anxious going into that day.”\u003c/p>\n\u003cp>Hoback followed the growth of the QAnon movement for three years and unravels the twisted knots of the conspiracy theory in a six-part series on HBO. He focuses on the interpersonal drama between those behind the website 8chan (later 8kun), where an enigmatic “Q” posted false conspiracy theories that convinced millions there were nefarious Democratic actors involved in child-trafficking rings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spurred on by former President Donald Trump’s false allegations of widespread fraud in the 2020 election that he lost to President Biden, many Q believers were among a larger group of anti-government extremists who stormed the Capitol on Jan. 6 in protest of the usually ceremonial counting of Electoral College votes affirming the election result.\u003c/p>\n\u003cp>The drama in the film develops incrementally as the inner workings of the dark web are explained for an audience unfamiliar with this world—which includes Fredrick Brennan, who created 8chan, and Jim and Ron Watkins, who later take on ownership and administration of the site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary centers on the rivalry between Brennan and the shadowy father-son duo of Jim and Ron Watkins. Though they once all worked together, Brennan turns and winds up strongly \u003ca href=\"https://www.nytimes.com/2019/08/04/technology/8chan-shooting-manifesto.html\" target=\"_blank\" rel=\"noopener noreferrer\">advocating against 8chan\u003c/a>. He does not believe the Watkinses, who test the bounds of free speech on the internet, are responsible stewards of the site, particularly after episodes of murder and violence that were linked to posters on the site.\u003c/p>\n\u003cp>Through his investigation, Hoback believes he has revealed the identity of Q. Through anonymous “drops,” Q boasted of dates—that never materialized—when the cabal would be toppled. Followers of the movement believed Q must be someone high up in Trump’s inner circle.\u003c/p>\n\u003cp>NPR has not independently verified Q’s identity, but Hoback’s film shows strong evidence that Ron Watkins was Q. He’s not someone particularly special and didn’t have any real ties to Trump, but he is someone who had access and motive.\u003c/p>\n\u003cp>“I hope that by revealing the mechanics behind Q and the personalities behind it,” Hoback said, “that they see that it really is just this kind of absurd cast of characters that created this massive global movement and that it is not this sort of scary mystery box.”\u003c/p>\n\u003cp>The movement grew so large that QAnon supporter Marjorie Taylor Greene, R-Ga., and Lauren Boebert, R-Colo., who “\u003ca href=\"https://www.npr.org/2020/07/01/885991730/gop-candidates-open-to-qanon-conspiracy-theory-advance-in-congressional-races\" target=\"_blank\" rel=\"noopener noreferrer\">expressed openness to Q\u003c/a>” even \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\">won\u003c/a> \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\" target=\"_blank\" rel=\"noopener noreferrer\">seats\u003c/a> in Congress, where they continue to spread misinformation. Greene even \u003ca href=\"https://twitter.com/JakeSherman/status/1383106255930155008\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> tried to start an “America First” caucus that would have focused on “Anglo-Saxon” values. After initially \u003ca href=\"https://twitter.com/groundyourstand/status/1383198051217465346\" target=\"_blank\" rel=\"noopener noreferrer\">seeming to defend it\u003c/a>, \u003ca href=\"https://www.salon.com/2021/04/17/marjorie-taylor-greene-forced-to-abandon-america-first-caucus-after-republican-outrage/\" target=\"_blank\" rel=\"noopener noreferrer\">she backed off\u003c/a> after the effort drew a sharp backlash.\u003c/p>\n\u003cp>Early in her tenure this year, she was stripped of committee assignments and yet, despite her marginalization—or perhaps because of it—she raised $3.2 million in the first three months of this year. It’s a sum that’s not just high for a member of Congress but rivals many Senate candidates.\u003c/p>\n\u003cp>Q hasn’t posted since the election, and many of its followers have been disappointed that its supposed prophecies haven’t come true. So where does the grassroots energy behind the movement, with its distrust of experts and willingness to believe misinformation, go from here?\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/rK_Gf9H2CWI'\n title='//www.youtube.com/embed/rK_Gf9H2CWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hoback talked with NPR about his investigation, what he hopes people take away from it and what it all might mean for the future.\u003c/p>\n\u003cp>\u003cem>The following is a selection of our conversation and was edited for length and clarity:\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>NPR: You were following QAnon far back when most of us—it was under our noses and just didn’t really understand it. Why did you then think that this was an important topic to cover and what drew you to it?\u003c/strong>\u003c/p>\n\u003cp>HOBACK: I thought it was a sign of things to come, both in the ways Q was being managed online, removing Q or suggesting that this thing was something that was too dangerous to be allowed on Reddit. It made me wonder if it actually was going to have the opposite effect, if it was going to make it bigger. To me, it looked like something that was likely to continue to grow. And I was just drawn to the mystery as well. I felt that unmasking Q might bring the whole thing to a conclusion.\u003c/p>\n\u003cp>\u003cstrong>I’m a political editor. Jan. 6 was one of the most harrowing moments in the film. What do you take away from the lead-up to Jan. 6? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The day itself, I found to be rather nerve-wracking. I think anybody who had really been tracking what was going on could see that this was the moment in which those power players who had been circling around Q, whether that’s Roger Stone, [retired Maj.] Gen. [Paul] Vallely, [retired] Gen. [Michael] Flynn, Steve Bannon, Alex Jones, Donald Trump, all of these guys, they were all prodding in the runup to Jan. 6 in a way to make the Q narrative real. And there were these overlapping groups that were all driving toward something similar. So I think if you were tracking it closely, you probably would have thought like myself that it was going to be even worse than it was.\u003c/p>\n\u003cp>\u003cstrong>How much fault do you think Ron and Jim deserve for that day? \u003c/strong>\u003c/p>\n\u003cp>Well, I don’t think Jan. 6 happened because of Q, but I also don’t think it would have happened without Q.\u003c/p>\n\u003cp>\u003cstrong>How interconnected was Trump world and Q?\u003c/strong>\u003c/p>\n\u003cp>So I would like for there to be more investigation into the ties between Ron and Jim and some of these power players in D.C.—Gen. Flynn and these other characters. I mean, we’ve seen some forensic evidence, and certainly after the 2016 election, it stands to reason that, given the amount of traffic 8chan was turning to Trump’s own campaign, that they would have reached out. I think the series paints a pretty good case for their ties to these D.C. operatives. But the exact nature of that relationship remains a little unclear.\u003c/p>\n\u003cp>\u003cstrong>Who were some of the key players and how much were they feeding Q information?\u003c/strong>\u003c/p>\n\u003cp>In the series, we show what we know, which is that Jerome Corsi, the known conspiracy theorist, had ties with all of these guys, close ties, and was one of the first to bolster Q. He says that a couple of people he holds very close to him—and we know that he has ties to Vallely—said you need to start paying attention to this. Bring it on Alex Jones’ [show]. Make it bigger.\u003c/p>\n\u003cp>So that would indicate that very early on, some of these ex-military networks saw the value in Q, saw that it was gaining steam and wanted to bolster it. When you talk about the information that’s being funneled, I don’t think there was really any meaningful information being funneled to Q. Q was just basically picking its favorite research out of things that the anons [anonymous posters] were collecting on 8chan and then 8kun, and then reflecting that research, or those ideas or the conspiracy theories back to the anons in the form of questions.\u003c/p>\n\u003cp>So you didn’t have to be Gen. Michael Flynn to write the Q drops. You just needed to be an incredibly engaged and active user of 8chan and very well versed in the research and analysis and all the internet data points that were being collected in order to create that narrative.\u003c/p>\n\u003cp>\u003cstrong>The documentary builds a powerful case that Ron is Q. Ron denies this, but in the documentary, he seems to relish the idea of being suspected. After the election, he comes out of the shadows and begins posting in his own name on Twitter about the election. He even \u003c/strong>\u003ca href=\"https://www.nbcnews.com/tech/internet/trump-meets-qanon-influencers-conspiracy-theory-s-adherents-beg-dictatorship-n1252144\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>appears on OAN\u003c/strong>\u003c/a>\u003cstrong>, the right-wing cable TV platform, to share his false conspiracies about Dominion voting machines. Along with Trump, Ron was banned from Twitter. Tell us more about why you think it’s him.\u003c/strong>\u003c/p>\n\u003cp>There’s so much more evidence I have pointing to Ron than what I was able to keep in the series. There’s mountains of it, including things he said to me since then. That’s part of why it was so valuable to spend this much time with them, because they’re not going to tell me the truth. So the answers lie in the omissions, in how they change their stories, in basically what they’re hiding and then what they eventually sort of choose to reveal.\u003c/p>\n\u003cp>One of the things Ron messaged me after the series dropped, he said, “You know, Cullen, I identify more with villains.” He wrote, “Something I learned a long time ago is that internet personalities are just actors on a stage. Making things larger than life makes for a better story and ultimately a more entertaining existence.” And then he goes on to say, “Getting away from the narrative that Ron is Q will be impossible, so I may as well embrace it.”\u003c/p>\n\u003cp>I think that it’s, like, almost an admission in and of itself. And there have been a few of those since then. You know, I think deep down he wants the credit, but he can’t take it.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people take away from knowing who Q was?\u003c/strong>\u003c/p>\n\u003cp>I think that when you demystify something, it takes away its power. You’re left with the baggage of the man and the motives of the man, and it just changes the equation. You know, if you talk to a Q follower, they could imagine that Q could be any number of things. It could have all of the benefits and none of the cons. And also it allowed them to imagine that there was this massive, super top secret military operation in the works. And I think that the truth matters. I think that it’s important to reveal the forces behind the operation.\u003c/p>\n\u003cp>And I think deep down, most of those who believed in Q wanted to know the truth. Whether or not they’re willing to accept it is another story. I just present them with the information, and they’ll draw their own conclusions. I don’t expect QAnons to watch this and suddenly, be like, “Well, I don’t believe in Q anymore.” The misery of shame is too great. I think that it’s a process, and that story may continue to evolve, but I think, also, the people who’ve seen who’s behind the operation, will they be likely to believe in Q now?\u003c/p>\n\u003cp>\u003cstrong>Have you heard from any Q followers or supporters?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have heard from a number of folks, I mean, my DMs on Twitter have been just insane. Some of them had been from Q followers. Some of them have been from family members of Q followers. And I’ve gotten more than a dozen messages now from people who said that, for the first time in a year in some cases, they’re communicating with their family members who were believers in Q. They feel like they understand now what this thing was that they believed in. They can talk about sort of the underlying mechanics and who was behind it.\u003c/p>\n\u003cp>Mileage may vary. I don’t expect that that’s going to be the case for everybody. But anecdotally, there’s been a number of cases now where lines of communication are reopening between those who believe in Q and their family members. I think that’s really important, because I have a lot of Q followers who sometimes just call me in the middle of the night, because they were lonely or because they needed someone to talk to or they just saw me as a grounding force, and I would often tell them, “Look, you need to try to try to talk to your brother, try to find some common ground.”\u003c/p>\n\u003cp>\u003cstrong>Where does this all go from here? What happens to Q followers and the movement?\u003c/strong>\u003c/p>\n\u003cp>You’ve probably seen the \u003ca href=\"https://www.npr.org/sections/inauguration-day-live-updates/2021/01/20/958907699/the-qanon-storm-never-struck-some-supporters-are-wavering-others-steadfast\" target=\"_blank\" rel=\"noopener noreferrer\">Telegram groups\u003c/a>. They’re not that gigantic, maybe 100,000 people or so. And they’re a pretty passionate community. I suspect that it will evolve. It will splinter into factions. Elements of QAnon will be absorbed into the main line of the GOP. But I think Q, as we knew it, will not remain.\u003c/p>\n\u003cp>\u003cstrong>What is the point that you’re most hoping audiences take away from your film? \u003c/strong>\u003c/p>\n\u003cp>I think that the antiseptic of sunlight is a powerful force. And by having people sit down and actually engage with sort of the ugly reality of Q, it also gives them a language. It not only helps them understand what was really happening this whole time, but it also helps a lot of people kind of communicate with those who maybe were on the brink of buying into Q or currently believe in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not going to be an easy path going forward coexisting with a lot of people who believe in this stuff, but I think that we’re already starting to see that the series is helping families reopen lines of communication now. To me, that’s the most positive outcome I’ve seen so far. And I hope it continues.\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=Q%26A%3A+Documentary+Unravels+Twisted+Knots+Of+QAnon+Movement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hulu’s ‘Sasquatch’ Doc Captures the Fear and Loathing Behind Mendocino Folklore",
"headTitle": "Hulu’s ‘Sasquatch’ Doc Captures the Fear and Loathing Behind Mendocino Folklore | KQED",
"content": "\u003cp>On the face of it, new Hulu documentary \u003cem>Sasquatch\u003c/em> is about the mythical mountain creature and whether or not it murders people on pot farms in Northern California. Once you get into it, the three-part series is far more concerned with the underworld that operates in the so-called Emerald Triangle—Mendocino, Humboldt and Trinity counties. But at its core, \u003cem>Sasquatch\u003c/em> is about the dark heart of rural Northern California and the lore that springs up out of it.\u003c/p>\n\u003cp>I have written about strange things afoot in the mountains before. I \u003ca href=\"https://www.kqed.org/arts/13892672/meet-the-ghosts-who-haunt-the-100-year-old-dew-drop-inn\" target=\"_blank\" rel=\"noopener noreferrer\">chased ghosts in Grass Valley\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13886018/a-wild-monkey-chase-do-ken-keseys-lsd-dosed-apes-still-roam-la-honda\" target=\"_blank\" rel=\"noopener noreferrer\">LSD-addled monkeys in La Honda\u003c/a>. And on both occasions, I found zero skeptics living in the communities concerned. Documentarian David Holthouse notices this himself in the very first episode of \u003cem>Sasquatch\u003c/em>. “There’s a current of belief in supernatural forces,” he says of rural Northern California, “that runs deeper up here than in most places.”\u003c/p>\n\u003cp>Holthouse’s series is born from an incident he witnessed on a friend’s remote pot farm in the fall of 1993. One evening, his friend’s cabin was visited by two men, one of whom was visibly frantic. The men said they had just found “three bodies on a pot farm that were mutilated, mangled, torn to pieces.” And they believed wholeheartedly, “that a sasquatch had done it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G8pVypMhub8\u003c/p>\n\u003cp>Over the course of the series, Holthouse does his best to get to the bottom of the mystery. And, remarkably, he succeeds in arriving at a reasonably satisfying conclusion. On his journey to doing that, he explores how lore is often born from a human desire to make sense of fear. “Monsters aren’t born, they’re made,” notes interview subject Brian Regal, author of \u003cem>Searching For Sasquatch.\u003c/em> “We make them. All of our monsters are human-made. We make them out of the things we’re afraid of; we make them out of the things we hate … It’s a human coping mechanism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Real-life human horror is not hard to find in \u003cem>Sasquatch\u003c/em>. It’s in the lawlessness that exists in the most remote parts of California. It’s in an engulfing paranoia that entire livelihoods could be lost overnight to government and police intervention. And it’s in the countless disappeared people who flock to the region to cash in on the marijuana farms. (“The rate of missing persons cases in Mendocino County and all throughout the Emerald Triangle is, per capita, the highest in the United States by far,” Holthouse reports.)\u003c/p>\n\u003cp>Razor, a former Emerald Triangle cannabis farmer who operated in the ’90s, backs up the theory that monster mythology is often born from real, personal terror. “I feel like all the sasquatch stories I ever heard emanate from that traumatic feeling of like, ‘I might not belong here and something is going to take me out,’” he says. “Someone doesn’t have to be a methamphetamine addict to be out in the woods maybe too long; traumatized by being out there and fearing for their lives.”\u003c/p>\n\u003cp>Despite its title,\u003cem> Sasquatch\u003c/em> is more about the harsh realities of criminal underworlds operating on the margins than it is about Bigfoot legends. At times, the show’s juxtaposition of evasive, hardcore criminals and enthusiastic sasquatch investigators is both jarring and borderline absurd. But only by combining the two does one get a true snapshot of the expanse of peculiarities specific to these Northern California communities. The threads that run between them are the rumors, tall tales and false accusations that spread like wildfire across small towns.\u003c/p>\n\u003cp>[aside postid='arts_13892672']But there is something else lurking in the mountains of Northern California. It is a darkness that appears to have seeped into the very land. And you have to experience it in order to understand its cumulative and insidious effects on small communities. Netflix’s five-part documentary series \u003cem>Murder Mountain\u003c/em> tried in many ways to capture that atmosphere, but it never quite hit the mark. \u003cem>Sasquatch\u003c/em> gets much, much closer—thanks in great part to an unlikely philosopher, Razor.\u003c/p>\n\u003cp>“When the gold fields of California opened up,” he notes, “it wasn’t the best and brightest that came to pan for gold. It was people trying to extricate a high profit for a little amount of work. The same thing happened with growing cannabis … That darkness from the [gold] mining camps, and from the first logging camps that took the land away from the Indigenous people. That trauma never stopped, and it just snowballed into trauma for everybody who’s come since then. It gets paved over and painted over and developed over, but in the more rural areas, it’s there. You can feel it. I don’t think you can stop it or erase it at this point.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only is Razor right, but the rest of \u003cem>Sasquatch\u003c/em> doubles down on the idea that, when it comes to the Emerald Triangle, there is far more to be afraid of than Bigfoot.\u003c/p>\n\n",
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"description": "It's supposed to be about Bigfoot, but David Holthouse's new series has more to do with the dark heart of rural Northern California.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, new Hulu documentary \u003cem>Sasquatch\u003c/em> is about the mythical mountain creature and whether or not it murders people on pot farms in Northern California. Once you get into it, the three-part series is far more concerned with the underworld that operates in the so-called Emerald Triangle—Mendocino, Humboldt and Trinity counties. But at its core, \u003cem>Sasquatch\u003c/em> is about the dark heart of rural Northern California and the lore that springs up out of it.\u003c/p>\n\u003cp>I have written about strange things afoot in the mountains before. I \u003ca href=\"https://www.kqed.org/arts/13892672/meet-the-ghosts-who-haunt-the-100-year-old-dew-drop-inn\" target=\"_blank\" rel=\"noopener noreferrer\">chased ghosts in Grass Valley\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13886018/a-wild-monkey-chase-do-ken-keseys-lsd-dosed-apes-still-roam-la-honda\" target=\"_blank\" rel=\"noopener noreferrer\">LSD-addled monkeys in La Honda\u003c/a>. And on both occasions, I found zero skeptics living in the communities concerned. Documentarian David Holthouse notices this himself in the very first episode of \u003cem>Sasquatch\u003c/em>. “There’s a current of belief in supernatural forces,” he says of rural Northern California, “that runs deeper up here than in most places.”\u003c/p>\n\u003cp>Holthouse’s series is born from an incident he witnessed on a friend’s remote pot farm in the fall of 1993. One evening, his friend’s cabin was visited by two men, one of whom was visibly frantic. The men said they had just found “three bodies on a pot farm that were mutilated, mangled, torn to pieces.” And they believed wholeheartedly, “that a sasquatch had done it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G8pVypMhub8'\n title='//www.youtube.com/embed/G8pVypMhub8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the course of the series, Holthouse does his best to get to the bottom of the mystery. And, remarkably, he succeeds in arriving at a reasonably satisfying conclusion. On his journey to doing that, he explores how lore is often born from a human desire to make sense of fear. “Monsters aren’t born, they’re made,” notes interview subject Brian Regal, author of \u003cem>Searching For Sasquatch.\u003c/em> “We make them. All of our monsters are human-made. We make them out of the things we’re afraid of; we make them out of the things we hate … It’s a human coping mechanism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Real-life human horror is not hard to find in \u003cem>Sasquatch\u003c/em>. It’s in the lawlessness that exists in the most remote parts of California. It’s in an engulfing paranoia that entire livelihoods could be lost overnight to government and police intervention. And it’s in the countless disappeared people who flock to the region to cash in on the marijuana farms. (“The rate of missing persons cases in Mendocino County and all throughout the Emerald Triangle is, per capita, the highest in the United States by far,” Holthouse reports.)\u003c/p>\n\u003cp>Razor, a former Emerald Triangle cannabis farmer who operated in the ’90s, backs up the theory that monster mythology is often born from real, personal terror. “I feel like all the sasquatch stories I ever heard emanate from that traumatic feeling of like, ‘I might not belong here and something is going to take me out,’” he says. “Someone doesn’t have to be a methamphetamine addict to be out in the woods maybe too long; traumatized by being out there and fearing for their lives.”\u003c/p>\n\u003cp>Despite its title,\u003cem> Sasquatch\u003c/em> is more about the harsh realities of criminal underworlds operating on the margins than it is about Bigfoot legends. At times, the show’s juxtaposition of evasive, hardcore criminals and enthusiastic sasquatch investigators is both jarring and borderline absurd. But only by combining the two does one get a true snapshot of the expanse of peculiarities specific to these Northern California communities. The threads that run between them are the rumors, tall tales and false accusations that spread like wildfire across small towns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there is something else lurking in the mountains of Northern California. It is a darkness that appears to have seeped into the very land. And you have to experience it in order to understand its cumulative and insidious effects on small communities. Netflix’s five-part documentary series \u003cem>Murder Mountain\u003c/em> tried in many ways to capture that atmosphere, but it never quite hit the mark. \u003cem>Sasquatch\u003c/em> gets much, much closer—thanks in great part to an unlikely philosopher, Razor.\u003c/p>\n\u003cp>“When the gold fields of California opened up,” he notes, “it wasn’t the best and brightest that came to pan for gold. It was people trying to extricate a high profit for a little amount of work. The same thing happened with growing cannabis … That darkness from the [gold] mining camps, and from the first logging camps that took the land away from the Indigenous people. That trauma never stopped, and it just snowballed into trauma for everybody who’s come since then. It gets paved over and painted over and developed over, but in the more rural areas, it’s there. You can feel it. I don’t think you can stop it or erase it at this point.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only is Razor right, but the rest of \u003cem>Sasquatch\u003c/em> doubles down on the idea that, when it comes to the Emerald Triangle, there is far more to be afraid of than Bigfoot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Missing Travel? This 'Irreverent Guide' Visits Anthony Bourdain's Favorite Places",
"headTitle": "Missing Travel? This ‘Irreverent Guide’ Visits Anthony Bourdain’s Favorite Places | KQED",
"content": "\u003cp>The new book \u003cem>World Travel: An Irreverent Guide\u003c/em> is credited to Anthony Bourdain. But it was not really written by the bestselling author, chef and TV personality who \u003ca href=\"https://www.npr.org/sections/thesalt/2018/06/08/618185381/anthony-bourdain-chef-and-television-host-has-died-at-61\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2018.\u003c/a>\u003c/p>\n\u003cp>\u003cem>World Travel: An Irreverent Guide\u003c/em> was assembled by one of Bourdain’s associates, Laurie Woolever, based entirely on his previous writings and an hourlong interview conducted shortly before his death. Bourdain had collaborated with Woolever on 2016’s \u003cem>\u003ca href=\"https://www.npr.org/sections/thesalt/2016/10/27/499308031/in-appetites-bourdain-pleases-the-toughest-food-critic-his-9-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">Appetites: A Cookbook\u003c/a>\u003c/em>, and this project was conceived of shortly thereafter, she says, with the intent to spotlight some of Bourdain’s favorite places around the globe.\u003c/p>\n\u003cp>Given the dearth of original writing by Bourdain himself, \u003cem>World Travel\u003c/em> contains a handful of tributary essays, by the likes of Bourdain’s brother Christopher, music producer Steve Albini, and Nari Kye, who worked as a production manager on Bourdain’s TV show, \u003cem>No Reservations\u003c/em>. She describes, in her essay, how her former boss profoundly changed her life.\u003c/p>\n\u003cfigure id=\"attachment_13896117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg\" alt=\"The cover of 'World Travel: An Irreverent Guide' by Anthony Bourdain and Laurie Woolever.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘World Travel: An Irreverent Guide’ by Anthony Bourdain and Laurie Woolever. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The South Korea episode of \u003cem>No Reservations\u003c/em> started as a joke,” she writes. “At the end of Season 1, I said, ‘We’re all going to eat Korean barbecue, and drink lots of \u003cem>soju\u003c/em>.’ I got us a huge table in Manhattan’s K-town, and Tony came. We went outside to smoke, and in my drunken \u003cem>soju\u003c/em> haze, I said, ‘Tony, you have to swear you’re going to Korea.’ And he said, ‘Of course. And you have to come with me.’ ”\u003c/p>\n\u003cp>What happened after that drunken conversation was not a joke, Kye says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s hard not to get emotional when I talk about Tony,” she says, wiping away tears during a Zoom call from her Brooklyn home. Kye explains she was surprised not just to come along for the South Korea episode, which aired in 2006, but also to be its focus, along with her family there.\u003c/p>\n\u003cp>The show follows Kye and Bourdain as they explore Seoul’s famous Noryangjin fish market, visit a village famous for its kimchee, peer at soldiers guarding the DMZ and drink copiously at a karaoke bar. (Off-camera, Kye says, Bourdain performed a Billy Idol number.) The two sat down with Kye’s grandfather over a bowl of spicy fish stew as part of the episode. He described the trauma of escaping from his home in what’s now North Korea in 1951.\u003c/p>\n\u003cp>[aside postid='news_11673893']“If I could go back there once before I die,” her grandfather explains in Korean, “I would have no other wish, if I could just see my parents’ graves and just cry my heart out. There’s nothing that can be done, though. That’s just the way it is. That’s my fate.”\u003c/p>\n\u003cp>Kye and Bourdain listen, rapt. “I might not have learned these things had it not been [for] Tony and the show,” Kye mused to NPR. “I was one person before I made the show. I was a different person afterwards.”\u003c/p>\n\u003cp>As she recounts in her essay, Kye did not grow up feeling proud of her family’s history or culture.\u003c/p>\n\u003cp>“I moved to the States when I was 5, from Korea, and after that, I lived in a predominantly white, Anglo-American community,” she writes. “As a kid who already looked different from everyone else, I was trying to fit in as an American and was mortified by my Korean heritage. My mom cooked only Korean food. My parents spoke only Korean to me … We basically lived in Korea in our house in a very American town.”\u003c/p>\n\u003cp>Before Kye’s friends would come over—”white, blond-haired girls named Jenny and Erin who would wear shoes inside their houses”—she would hide everything in her house that looked Korean. She was a recent college graduate, still in her early 20s, when she traveled to South Korea with Bourdain. His full-throated enthusiasm for Korea’s spectacular history, culture and food transformed her perspective about something she had dismissed and taken for granted—and ignited her own sense of creative potential. Now Kye works on a children’s television show for Korean American families, and she’s writing an autobiographical screenplay, including her travels with Bourdain, filtered through learning about food.\u003c/p>\n\u003cfigure id=\"attachment_13896118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg\" alt=\"Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3.jpg 1547w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \u003ccite>(CNN/Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know this had been so important to Nari until after [Bourdain] died, and we were talking about his impact on us,” Laurie Woolever told NPR. “Had Tony lived and written his own essay for the book—which was the original plan—I never would’ve gotten to hear from Nari. And I think it’s important, and I want people to understand how deep [Bourdain’s] legacy is.”\u003c/p>\n\u003cp>Part of that legacy, says Nari Kye, comes from how Bourdain reflexively stood up for underdogs, his embrace of those who get marginalized. “He always made people feel like they belonged,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And wherever he traveled, she says, Anthony Bourdain managed to belong as well.\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=Missing+Travel%3F+This+%27Irreverent+Guide%27+Visits+Anthony+Bourdain%27s+Favorite+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new book \u003cem>World Travel: An Irreverent Guide\u003c/em> is credited to Anthony Bourdain. But it was not really written by the bestselling author, chef and TV personality who \u003ca href=\"https://www.npr.org/sections/thesalt/2018/06/08/618185381/anthony-bourdain-chef-and-television-host-has-died-at-61\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2018.\u003c/a>\u003c/p>\n\u003cp>\u003cem>World Travel: An Irreverent Guide\u003c/em> was assembled by one of Bourdain’s associates, Laurie Woolever, based entirely on his previous writings and an hourlong interview conducted shortly before his death. Bourdain had collaborated with Woolever on 2016’s \u003cem>\u003ca href=\"https://www.npr.org/sections/thesalt/2016/10/27/499308031/in-appetites-bourdain-pleases-the-toughest-food-critic-his-9-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">Appetites: A Cookbook\u003c/a>\u003c/em>, and this project was conceived of shortly thereafter, she says, with the intent to spotlight some of Bourdain’s favorite places around the globe.\u003c/p>\n\u003cp>Given the dearth of original writing by Bourdain himself, \u003cem>World Travel\u003c/em> contains a handful of tributary essays, by the likes of Bourdain’s brother Christopher, music producer Steve Albini, and Nari Kye, who worked as a production manager on Bourdain’s TV show, \u003cem>No Reservations\u003c/em>. She describes, in her essay, how her former boss profoundly changed her life.\u003c/p>\n\u003cfigure id=\"attachment_13896117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg\" alt=\"The cover of 'World Travel: An Irreverent Guide' by Anthony Bourdain and Laurie Woolever.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘World Travel: An Irreverent Guide’ by Anthony Bourdain and Laurie Woolever. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The South Korea episode of \u003cem>No Reservations\u003c/em> started as a joke,” she writes. “At the end of Season 1, I said, ‘We’re all going to eat Korean barbecue, and drink lots of \u003cem>soju\u003c/em>.’ I got us a huge table in Manhattan’s K-town, and Tony came. We went outside to smoke, and in my drunken \u003cem>soju\u003c/em> haze, I said, ‘Tony, you have to swear you’re going to Korea.’ And he said, ‘Of course. And you have to come with me.’ ”\u003c/p>\n\u003cp>What happened after that drunken conversation was not a joke, Kye says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s hard not to get emotional when I talk about Tony,” she says, wiping away tears during a Zoom call from her Brooklyn home. Kye explains she was surprised not just to come along for the South Korea episode, which aired in 2006, but also to be its focus, along with her family there.\u003c/p>\n\u003cp>The show follows Kye and Bourdain as they explore Seoul’s famous Noryangjin fish market, visit a village famous for its kimchee, peer at soldiers guarding the DMZ and drink copiously at a karaoke bar. (Off-camera, Kye says, Bourdain performed a Billy Idol number.) The two sat down with Kye’s grandfather over a bowl of spicy fish stew as part of the episode. He described the trauma of escaping from his home in what’s now North Korea in 1951.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If I could go back there once before I die,” her grandfather explains in Korean, “I would have no other wish, if I could just see my parents’ graves and just cry my heart out. There’s nothing that can be done, though. That’s just the way it is. That’s my fate.”\u003c/p>\n\u003cp>Kye and Bourdain listen, rapt. “I might not have learned these things had it not been [for] Tony and the show,” Kye mused to NPR. “I was one person before I made the show. I was a different person afterwards.”\u003c/p>\n\u003cp>As she recounts in her essay, Kye did not grow up feeling proud of her family’s history or culture.\u003c/p>\n\u003cp>“I moved to the States when I was 5, from Korea, and after that, I lived in a predominantly white, Anglo-American community,” she writes. “As a kid who already looked different from everyone else, I was trying to fit in as an American and was mortified by my Korean heritage. My mom cooked only Korean food. My parents spoke only Korean to me … We basically lived in Korea in our house in a very American town.”\u003c/p>\n\u003cp>Before Kye’s friends would come over—”white, blond-haired girls named Jenny and Erin who would wear shoes inside their houses”—she would hide everything in her house that looked Korean. She was a recent college graduate, still in her early 20s, when she traveled to South Korea with Bourdain. His full-throated enthusiasm for Korea’s spectacular history, culture and food transformed her perspective about something she had dismissed and taken for granted—and ignited her own sense of creative potential. Now Kye works on a children’s television show for Korean American families, and she’s writing an autobiographical screenplay, including her travels with Bourdain, filtered through learning about food.\u003c/p>\n\u003cfigure id=\"attachment_13896118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg\" alt=\"Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3.jpg 1547w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \u003ccite>(CNN/Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know this had been so important to Nari until after [Bourdain] died, and we were talking about his impact on us,” Laurie Woolever told NPR. “Had Tony lived and written his own essay for the book—which was the original plan—I never would’ve gotten to hear from Nari. And I think it’s important, and I want people to understand how deep [Bourdain’s] legacy is.”\u003c/p>\n\u003cp>Part of that legacy, says Nari Kye, comes from how Bourdain reflexively stood up for underdogs, his embrace of those who get marginalized. “He always made people feel like they belonged,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And wherever he traveled, she says, Anthony Bourdain managed to belong as well.\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=Missing+Travel%3F+This+%27Irreverent+Guide%27+Visits+Anthony+Bourdain%27s+Favorite+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grey's Anatomy' is in its 17th Season... But Are Today's Shows Built to Last?",
"headTitle": "‘Grey’s Anatomy’ is in its 17th Season… But Are Today’s Shows Built to Last? | KQED",
"content": "\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” [aside postid='arts_13893475']\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. [aside postid='arts_13895138']\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\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=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\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=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Billy Eichner Predicted Colton Underwood (the Virgin ‘Bachelor’) Was Gay Two Years Ago",
"headTitle": "Billy Eichner Predicted Colton Underwood (the Virgin ‘Bachelor’) Was Gay Two Years Ago | KQED",
"content": "\u003cp>Colton Underwood, the 26-year-old virgin from Season 23 of \u003cem>The Bachelor\u003c/em>, came out on \u003cem>Good Morning America\u003c/em> on Wednesday morning. “I’ve ran from myself for a long time, I’ve hated myself for a long time,” Colton nervously told Robin Roberts, “and I’m gay.”\u003c/p>\n\u003cp>https://twitter.com/GMA/status/1382296967250776065\u003c/p>\n\u003cp>The news might have shocked Bachelor Nation, but it probably came as absolutely no surprise to Billy Eichner. The comedian seemingly predicted Underwood’s sexuality just two episodes into Season 23. Eichner was brought in as “camp counselor” (and comic relief) during the 2019 sleepaway camp episode of Underwood’s season. At one point, Eichner told Underwood, “Maybe you’re the first gay bachelor and we don’t even know!”\u003c/p>\n\u003cp>The clip went viral shortly after \u003cem>GMA\u003c/em> aired.\u003c/p>\n\u003cp>https://twitter.com/clairemarie_31/status/1382309617091416066\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back now, that entire segment from the show is prescient. At one point, as the women compete in teams to win a night of camping with Underwood, Eichner quips: “Where is the red team going? It’s like Colton trying to find a vagina!”\u003c/p>\n\u003cp>In a one-on-one chat, Eichner also tells Underwood that one-night stands are “fantastic,” gives him a reality check on bad sex, and makes fun of \u003cem>The Bachelor\u003c/em>’s dating rituals. “He just says what’s on his mind and I’m a big fan,” Underwood noted at the time.\u003c/p>\n\u003cp>You can watch the full segment below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2egLire4tY\u003c/p>\n\u003cp>The executive producers of \u003cem>The Bachelor\u003c/em> made a statement in support of Underwood on Wednesday morning. “We are so inspired by Colton Underwood’s courage to embrace and pursue his authentic self,” they said. “As firm believers in the power of love, we celebrate Colton’s journey in the LGBTQIA+ community every step of the way.”\u003c/p>\n\u003cp>GLAAD also released a statement in support of Underwood. “There is no set timeline for coming out,” it said. “Given the large and loyal fandom who know Colton from \u003cem>The Bachelor\u003c/em>, his coming out and discussion of his faith will hopefully open eyes to the millions of out and proud LGBTQ people who are also people of faith.”\u003c/p>\n\u003cp>On the back of that, Eichner made another prediction…\u003c/p>\n\u003cp>https://twitter.com/billyeichner/status/1382364722884796418\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope he’s wrong about that one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Colton Underwood, the 26-year-old virgin from Season 23 of \u003cem>The Bachelor\u003c/em>, came out on \u003cem>Good Morning America\u003c/em> on Wednesday morning. “I’ve ran from myself for a long time, I’ve hated myself for a long time,” Colton nervously told Robin Roberts, “and I’m gay.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The news might have shocked Bachelor Nation, but it probably came as absolutely no surprise to Billy Eichner. The comedian seemingly predicted Underwood’s sexuality just two episodes into Season 23. Eichner was brought in as “camp counselor” (and comic relief) during the 2019 sleepaway camp episode of Underwood’s season. At one point, Eichner told Underwood, “Maybe you’re the first gay bachelor and we don’t even know!”\u003c/p>\n\u003cp>The clip went viral shortly after \u003cem>GMA\u003c/em> aired.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back now, that entire segment from the show is prescient. At one point, as the women compete in teams to win a night of camping with Underwood, Eichner quips: “Where is the red team going? It’s like Colton trying to find a vagina!”\u003c/p>\n\u003cp>In a one-on-one chat, Eichner also tells Underwood that one-night stands are “fantastic,” gives him a reality check on bad sex, and makes fun of \u003cem>The Bachelor\u003c/em>’s dating rituals. “He just says what’s on his mind and I’m a big fan,” Underwood noted at the time.\u003c/p>\n\u003cp>You can watch the full segment below.\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/r2egLire4tY'\n title='//www.youtube.com/embed/r2egLire4tY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The executive producers of \u003cem>The Bachelor\u003c/em> made a statement in support of Underwood on Wednesday morning. “We are so inspired by Colton Underwood’s courage to embrace and pursue his authentic self,” they said. “As firm believers in the power of love, we celebrate Colton’s journey in the LGBTQIA+ community every step of the way.”\u003c/p>\n\u003cp>GLAAD also released a statement in support of Underwood. “There is no set timeline for coming out,” it said. “Given the large and loyal fandom who know Colton from \u003cem>The Bachelor\u003c/em>, his coming out and discussion of his faith will hopefully open eyes to the millions of out and proud LGBTQ people who are also people of faith.”\u003c/p>\n\u003cp>On the back of that, Eichner made another prediction…\u003c/p>\u003c/p>\u003c/div>",
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"title": "HBO's 'The Nevers': When Steampunk Gets Foggy",
"headTitle": "HBO’s ‘The Nevers’: When Steampunk Gets Foggy | KQED",
"content": "\u003cp>Unfocused and overstuffed, the first four episodes of HBO’s \u003cem>The Nevers \u003c/em>provided to critics lack a sufficiently strong narrative backbone to support the surfeit of characters, subplots, themes and familiar storytelling tics thrown at the viewer. The series pairs all this tumult with a frustratingly incremental approach to disclosing What Is Really Going On; as a result, allegiances shift, plots twist and characters take actions for reasons we can only guess at—provided we’re willing to bother.\u003c/p>\n\u003cp>Those sudden reveals and reversals are meant to surprise and delight, of course. And maybe they would, if the show spent more energy attempting to get us invested in these characters and what happens to them.\u003c/p>\n\u003cp>By the end of the fourth episode, viewers who’ve paying close attention will have developed a working theory about Amalia True (Laura Donnelly), the leader of a rag-tag group of women in Victorian London who’ve been granted weird powers by a mysterious event. Amalia’s got the power to experience sudden ripples of the future, see. She’s also fond of the occasional donnybrook, and is an uncannily exceptional hand-to-hand fighter in a way that doesn’t seem connected to her particular power (her “turn,” in the show’s parlance). She’s also got a complicated past she doesn’t like to talk about, including a connection to another one of the “Touched” (others who acquired powers in the same event)—a murderous madwoman named Maladie (Amy Manson). Amalia’s taciturn about pretty much everything, in fact, except for her stated mission, which is to gather together the “Touched” (mostly women of lower station) at the orphanage she runs, so as to offer them protection from a populace growing increasingly hostile to them.\u003c/p>\n\u003cp>There’s more to it, and to her, and the conclusion of the fourth episode suggests that we’ll get to know Amalia’s whole deal in the two episodes that follow (HBO is dividing up \u003cem>The Nevers\u003c/em>‘ season into two six-episode chunks—the second of which has yet to be filmed, and does not yet have an air date). Potential viewers will have to make their own personal calculations to gauge their willingness to invest their time into a show so devoted to cultivating and perpetuating inessential mystery in lieu of clear storytelling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gs-ODufnJ8Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not the only calculation they’ll have to make for themselves, either. \u003cem>The Nevers\u003c/em> was created by Joss Whedon; he wrote and directed the pilot, and directed the second episode as well. \u003ca href=\"https://www.hollywoodreporter.com/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">Actor Ray Fisher raised allegations about Whedon’s abusive behavior on the set of \u003cem>Justice League\u003c/em>; \u003cem>Buffy the Vampire Slayer\u003c/em>‘s Charisma Carpenter and others \u003c/a>have since added their voices to the mix. Whedon officially exited \u003cem>The Nevers\u003c/em> in November of last year; Philippa Goslett took over post-production and was named the series’ new showrunner.\u003c/p>\n\u003cp>It will be interesting to see if the back half of this first season, which won’t involve Whedon, will be able to shake off the thick coating of familiar Whedony writerly tics weighing down these early episodes. To be clear, Whedon doesn’t own the patents on badass women, quippy dialogue, misogynistic villains, sudden character deaths, moony-yet-vicious serial killers or any of the other tropes that recur in his work. But as executed in \u003cem>The Nevers\u003c/em>, these factors slot too neatly into the well-worn grooves we’ve seen from him before. Easily the series’ most familiar, and most tiresome, component is Manson’s Maladie, who swings from giddy, throat-slicing malice to a childlike woundedness in precisely the way—using snippets of the same dialogue—that so many Whedon villains have done before her.\u003c/p>\n\u003cp>The world-building, at least, is extensive, and it’s possible later episodes might benefit from having carved out so much narrative real estate, so many competing interests. But these early episodes are crowded with various factions and alliances whose motivations remain unclear; to accommodate them all, the series keeps checking in on them in scenes too brief to land with the weight they need to, and the series’ insistence on keeping its narrative cards so close to its vest means we often don’t know what we’re supposed to glean out of a given meeting or conversation.\u003c/p>\n\u003cp>If you’re willing to give \u003cem>The Nevers\u003c/em> a chance, it contains the potential to reward your patience, given the introduction of a clear and direct narrative infrastructure to help focus its—and our—attention. Whether that’ll happen, and if anyone will still be watching if it does, is anyone’s guess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Nevers\u003c/strong>\u003c/em>\u003cstrong> debuts on HBO at 9pmET on April 11.\u003c/strong>\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+Nevers%27%3A+When+Steampunk+Gets+Foggy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unfocused and overstuffed, the first four episodes of HBO’s \u003cem>The Nevers \u003c/em>provided to critics lack a sufficiently strong narrative backbone to support the surfeit of characters, subplots, themes and familiar storytelling tics thrown at the viewer. The series pairs all this tumult with a frustratingly incremental approach to disclosing What Is Really Going On; as a result, allegiances shift, plots twist and characters take actions for reasons we can only guess at—provided we’re willing to bother.\u003c/p>\n\u003cp>Those sudden reveals and reversals are meant to surprise and delight, of course. And maybe they would, if the show spent more energy attempting to get us invested in these characters and what happens to them.\u003c/p>\n\u003cp>By the end of the fourth episode, viewers who’ve paying close attention will have developed a working theory about Amalia True (Laura Donnelly), the leader of a rag-tag group of women in Victorian London who’ve been granted weird powers by a mysterious event. Amalia’s got the power to experience sudden ripples of the future, see. She’s also fond of the occasional donnybrook, and is an uncannily exceptional hand-to-hand fighter in a way that doesn’t seem connected to her particular power (her “turn,” in the show’s parlance). She’s also got a complicated past she doesn’t like to talk about, including a connection to another one of the “Touched” (others who acquired powers in the same event)—a murderous madwoman named Maladie (Amy Manson). Amalia’s taciturn about pretty much everything, in fact, except for her stated mission, which is to gather together the “Touched” (mostly women of lower station) at the orphanage she runs, so as to offer them protection from a populace growing increasingly hostile to them.\u003c/p>\n\u003cp>There’s more to it, and to her, and the conclusion of the fourth episode suggests that we’ll get to know Amalia’s whole deal in the two episodes that follow (HBO is dividing up \u003cem>The Nevers\u003c/em>‘ season into two six-episode chunks—the second of which has yet to be filmed, and does not yet have an air date). Potential viewers will have to make their own personal calculations to gauge their willingness to invest their time into a show so devoted to cultivating and perpetuating inessential mystery in lieu of clear storytelling.\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/gs-ODufnJ8Y'\n title='//www.youtube.com/embed/gs-ODufnJ8Y'\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>That’s not the only calculation they’ll have to make for themselves, either. \u003cem>The Nevers\u003c/em> was created by Joss Whedon; he wrote and directed the pilot, and directed the second episode as well. \u003ca href=\"https://www.hollywoodreporter.com/features/ray-fisher-opens-up-about-justice-league-joss-whedon-and-warners-i-dont-believe-some-of-these-people-are-fit-for-leadership?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">Actor Ray Fisher raised allegations about Whedon’s abusive behavior on the set of \u003cem>Justice League\u003c/em>; \u003cem>Buffy the Vampire Slayer\u003c/em>‘s Charisma Carpenter and others \u003c/a>have since added their voices to the mix. Whedon officially exited \u003cem>The Nevers\u003c/em> in November of last year; Philippa Goslett took over post-production and was named the series’ new showrunner.\u003c/p>\n\u003cp>It will be interesting to see if the back half of this first season, which won’t involve Whedon, will be able to shake off the thick coating of familiar Whedony writerly tics weighing down these early episodes. To be clear, Whedon doesn’t own the patents on badass women, quippy dialogue, misogynistic villains, sudden character deaths, moony-yet-vicious serial killers or any of the other tropes that recur in his work. But as executed in \u003cem>The Nevers\u003c/em>, these factors slot too neatly into the well-worn grooves we’ve seen from him before. Easily the series’ most familiar, and most tiresome, component is Manson’s Maladie, who swings from giddy, throat-slicing malice to a childlike woundedness in precisely the way—using snippets of the same dialogue—that so many Whedon villains have done before her.\u003c/p>\n\u003cp>The world-building, at least, is extensive, and it’s possible later episodes might benefit from having carved out so much narrative real estate, so many competing interests. But these early episodes are crowded with various factions and alliances whose motivations remain unclear; to accommodate them all, the series keeps checking in on them in scenes too brief to land with the weight they need to, and the series’ insistence on keeping its narrative cards so close to its vest means we often don’t know what we’re supposed to glean out of a given meeting or conversation.\u003c/p>\n\u003cp>If you’re willing to give \u003cem>The Nevers\u003c/em> a chance, it contains the potential to reward your patience, given the introduction of a clear and direct narrative infrastructure to help focus its—and our—attention. Whether that’ll happen, and if anyone will still be watching if it does, is anyone’s guess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Nevers\u003c/strong>\u003c/em>\u003cstrong> debuts on HBO at 9pmET on April 11.\u003c/strong>\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+Nevers%27%3A+When+Steampunk+Gets+Foggy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Amazon's 'Them' is Drowning in Terror, Trauma and Too Many Ideas",
"headTitle": "Amazon’s ‘Them’ is Drowning in Terror, Trauma and Too Many Ideas | KQED",
"content": "\u003cp>Lately, everyone’s talking about trauma. Trauma in news form, trauma in essay form, trauma in Twitter thread form. In pop culture, creators are mining the depths of trauma both personal and historical in a variety of ways—documenting the testimonials of \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">real-life victims\u003c/a> in \u003ca href=\"https://www.npr.org/2020/06/12/876348924/in-on-the-record-black-women-s-voices-get-a-needed-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">shocking detail\u003c/a>; weaving harrowing experiences into \u003ca href=\"https://www.vanityfair.com/hollywood/2018/09/bojack-horseman-season-5-lisa-hanawalt-interview\" target=\"_blank\" rel=\"noopener noreferrer\">fictional characters’ narratives\u003c/a>. In those fictional characterizations sometimes, the trauma is merely a plot point; at other times, \u003ca href=\"https://www.npr.org/2021/01/21/958526533/the-agony-and-subversion-of-the-promising-young-woman-ending\" target=\"_blank\" rel=\"noopener noreferrer\">it \u003cem>is \u003c/em>the point\u003c/a>, or rather, the \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">wrestling with and processing of it\u003c/a> is.\u003c/p>\n\u003cp>The new Amazon series \u003cem>Them\u003c/em>, created by Little Marvin (Lena Waithe is one of the executive producers), has been billed as an anthology that “explores terror in America.” Terror, trauma … is there much difference between the two? Certainly not in this case, as the first season centers the Emorys, a Black family moving from rural North Carolina to the suburbs of East Compton, Calif., in 1953, back when East Compton was virtually all white.\u003c/p>\n\u003cp>Even if you hadn’t already seen the much-discussed trailer, it would be easy enough to guess what said terror might entail based on that short description alone: Good ol’, mid-20th century American racism. (With a brief detour to the 19th century in a later episode.)\u003c/p>\n\u003cp>More specifically, the terror/trauma depicted in \u003cem>Them \u003c/em>includes, but is not limited to: White characters spewing the N-word at Black people; white characters graphically assaulting, torturing, and (occasionally) murdering Black people; a creepy minstrel character rendered in blackface; filicide.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em>, the Emorys’ new neighbors in this cookie-cutter Pleasantville are the opposite of welcoming. Betty (Alison Pill)—a dissatisfied housewife who absolutely would have been front and center of the \u003ca href=\"https://www.youtube.com/watch?v=ym8rdtq-KBE#t=01m10s\" target=\"_blank\" rel=\"noopener noreferrer\">angry white mob\u003c/a> that harassed the Little Rock Nine outside Central High School in Arkansas—leads the charge, rounding up the rest of the community to coordinate targeted attacks on the new family. Adding to these immediate threats is the fact that the Emorys—Lucky (Deborah Ayorinde), Henry (Ashley Thomas) and their daughters Ruby Lee (Shahadi Wright Joseph) and Gracie Jean (Melody Hurd)—are already entering into this new environment carrying their own set of deeply unsettling emotional baggage. Because \u003cem>of course\u003c/em>; they are Black in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WL3Jz8fDgFI\u003c/p>\n\u003cp>\u003cem>Them\u003c/em> features an impressive array of filmmaking talent across 10 episodes, including Janicza Bravo (who’s directed, among other things, the excellent “Juneteenth” episode of \u003cem>Atlanta\u003c/em>) and notable horror director Ti West (\u003cem>The Innkeepers\u003c/em>). The performances are invigorating, particularly Ayorinde and Thomas, who are tasked with excavating the pain that comes from wounds both generational and directly personal.\u003c/p>\n\u003cp>But baked into this production is the pesky, exhausting problem of “doing too much.” This is evident in the glut of needle-drops, many of them anachronistic, which clutter the storytelling and club the viewer over the head with their obviousness. When Lucky responds to one of Betty’s racist tirades by smacking her clear across the face (right after she politely asks little Gracie to hold her purse), James Brown’s electrifying “\u003ca href=\"https://www.youtube.com/watch?v=istJXUJJP0g\" target=\"_blank\" rel=\"noopener noreferrer\">The Payback\u003c/a>” kicks in for a hot second; yet the punctuation feels less like a triumphant nod to \u003ca href=\"https://www.youtube.com/watch?v=GCc99Gh-IEM\" target=\"_blank\" rel=\"noopener noreferrer\">Foxy Brown\u003c/a> than it does a crass, intentional play for Black Twitter meme status. There are so many stylish music cues like this that early on it begins to seem as if the writers have relied on the likes of Judy Garland, Nat King Cole, and Isaac Hayes to do all of the heavy lifting to cover up the thin story.\u003c/p>\n\u003cp>\u003cem>Them \u003c/em>is also drowning in terror and trauma, and little else. And that trauma and terror are so horrific, several episodes begin with content warnings of graphic violence. I’m not one who believes every piece of art depicting awful events needs such disclosure, but in this case, the producers made the correct choice; there are scenes involving Black pain and suffering so mortifying, I can imagine many viewers not being able to finish watching it.\u003c/p>\n\u003cp>The attention to the details of this suffering is chilling not necessarily because of what is depicted—there’s a time and place for such explicitness in the right creative hands—but because it’s depicted in service of a cynical mode of storytelling. Each of the Emorys are haunted by a demon corresponding to their individual life experiences, and through these spirits, one can see the makings of a potentially more interesting character study than what we’re given—a story using supernatural elements to tap into trauma within Black families with the richness and sharpness of a movie like Kasi Lemmons’ \u003cem>Eve’s Bayou\u003c/em> or, more recently, \u003ca href=\"https://www.youtube.com/watch?v=DYY0QJhlXjc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>His House\u003c/em>\u003c/a>, the captivating haunted house tale about a South Sudanese refugee couple living in the U.K.\u003c/p>\n\u003cp>Instead it borrows from the playbook of last year’s unwieldly and exploitative \u003ca href=\"https://www.npr.org/2020/09/15/913246254/what-exactly-is-antebellum-trying-to-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Antebellum\u003c/em>\u003c/a>, and shows like \u003cem>Westworld \u003c/em>and \u003cem>Lovecraft Country, \u003c/em>which favor slick convolution over coherent narrative choices\u003cem>. \u003c/em>There are So! Many! Ideas! And! Tones! being mashed up here, and to little effect. At one point the show diverts to a baffling hostage-in-a-bunker plotline for reasons that remain unclear.\u003c/p>\n\u003cp>When the full trailer for \u003cem>Them \u003c/em>dropped last month, the Twitter timeline was alit with commentary about how the show’s themes and aesthetic seemed to be \u003ca href=\"http://abcnewsradioonline.com/music-news/2021/3/23/us-against-them-amazon-series-roasted-as-ripoff-of-jordan-pe-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">biting from Jordan Peele\u003c/a>. Superficial similarities aside—the titles \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Us\u003c/em>\u003c/a> vs. \u003cem>Them\u003c/em>; the casting of Shahadi Wright Joseph in both projects—such conclusions gloss over a few realities, such as the fact that Peele himself has always been vocal about the \u003ca href=\"https://www.vulture.com/article/get-out-oral-history-jordan-peele.html\" target=\"_blank\" rel=\"noopener noreferrer\">many films that inspired \u003cem>his own\u003c/em> work\u003c/a>. They also seem to misunderstand, or ignore, how genres fundamentally build upon and play with familiar elements and tropes. There’s as much standard horror stuff of the Stephen King variety in \u003cem>Them\u003c/em> as there is Peele’s influence.\u003c/p>\n\u003cp>The problem, then, has less to do with parallels to \u003cem>Get Out \u003c/em>than the show’s inability to establish a reason to exist beyond the thesis of “Racism is terrorism, and it’s everywhere; in our entertainment, schools, workspaces, churches, homes.” It’s a fair starting point for telling a story (or teaching basic history), but it can’t be the \u003cem>only \u003c/em>point. By all means, wrestle with the real-life terrors that can come with Black homeownership, Black parenting, white women’s complicity in upholding racist infrastructure, and so on. But also bring more to the narrative in the way of inventive scares, characterization, or even, where appropriate, some levity.\u003c/p>\n\u003cp>\u003cem>Them\u003c/em> suffers from the same predicament that has arisen in the wake of Black people becoming hashtags in death—the public knows far more about their last moments on Earth than all the moments that made up their life before. Viewers who make it through all 10 episodes will know plenty about how the Emorys have suffered and been traumatized, but they won’t come away with much else.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Them \u003c/strong>\u003c/em>\u003cstrong>debuts on Amazon Prime on Friday, April 9.\u003c/strong>\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=%27Them%27%3A+The+Trauma%2C+The+Trauma&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lately, everyone’s talking about trauma. Trauma in news form, trauma in essay form, trauma in Twitter thread form. In pop culture, creators are mining the depths of trauma both personal and historical in a variety of ways—documenting the testimonials of \u003ca href=\"https://www.npr.org/2021/02/21/969425823/allen-v-farrow-digs-deep-into-a-tale-of-celebrity-power-and-silence\" target=\"_blank\" rel=\"noopener noreferrer\">real-life victims\u003c/a> in \u003ca href=\"https://www.npr.org/2020/06/12/876348924/in-on-the-record-black-women-s-voices-get-a-needed-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">shocking detail\u003c/a>; weaving harrowing experiences into \u003ca href=\"https://www.vanityfair.com/hollywood/2018/09/bojack-horseman-season-5-lisa-hanawalt-interview\" target=\"_blank\" rel=\"noopener noreferrer\">fictional characters’ narratives\u003c/a>. In those fictional characterizations sometimes, the trauma is merely a plot point; at other times, \u003ca href=\"https://www.npr.org/2021/01/21/958526533/the-agony-and-subversion-of-the-promising-young-woman-ending\" target=\"_blank\" rel=\"noopener noreferrer\">it \u003cem>is \u003c/em>the point\u003c/a>, or rather, the \u003ca href=\"https://www.npr.org/2020/06/07/871472968/i-may-destroy-you-is-hbo-s-new-unforgettable-unmissable-drama\" target=\"_blank\" rel=\"noopener noreferrer\">wrestling with and processing of it\u003c/a> is.\u003c/p>\n\u003cp>The new Amazon series \u003cem>Them\u003c/em>, created by Little Marvin (Lena Waithe is one of the executive producers), has been billed as an anthology that “explores terror in America.” Terror, trauma … is there much difference between the two? Certainly not in this case, as the first season centers the Emorys, a Black family moving from rural North Carolina to the suburbs of East Compton, Calif., in 1953, back when East Compton was virtually all white.\u003c/p>\n\u003cp>Even if you hadn’t already seen the much-discussed trailer, it would be easy enough to guess what said terror might entail based on that short description alone: Good ol’, mid-20th century American racism. (With a brief detour to the 19th century in a later episode.)\u003c/p>\n\u003cp>More specifically, the terror/trauma depicted in \u003cem>Them \u003c/em>includes, but is not limited to: White characters spewing the N-word at Black people; white characters graphically assaulting, torturing, and (occasionally) murdering Black people; a creepy minstrel character rendered in blackface; filicide.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em>, the Emorys’ new neighbors in this cookie-cutter Pleasantville are the opposite of welcoming. Betty (Alison Pill)—a dissatisfied housewife who absolutely would have been front and center of the \u003ca href=\"https://www.youtube.com/watch?v=ym8rdtq-KBE#t=01m10s\" target=\"_blank\" rel=\"noopener noreferrer\">angry white mob\u003c/a> that harassed the Little Rock Nine outside Central High School in Arkansas—leads the charge, rounding up the rest of the community to coordinate targeted attacks on the new family. Adding to these immediate threats is the fact that the Emorys—Lucky (Deborah Ayorinde), Henry (Ashley Thomas) and their daughters Ruby Lee (Shahadi Wright Joseph) and Gracie Jean (Melody Hurd)—are already entering into this new environment carrying their own set of deeply unsettling emotional baggage. Because \u003cem>of course\u003c/em>; they are Black in America.\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/WL3Jz8fDgFI'\n title='//www.youtube.com/embed/WL3Jz8fDgFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Them\u003c/em> features an impressive array of filmmaking talent across 10 episodes, including Janicza Bravo (who’s directed, among other things, the excellent “Juneteenth” episode of \u003cem>Atlanta\u003c/em>) and notable horror director Ti West (\u003cem>The Innkeepers\u003c/em>). The performances are invigorating, particularly Ayorinde and Thomas, who are tasked with excavating the pain that comes from wounds both generational and directly personal.\u003c/p>\n\u003cp>But baked into this production is the pesky, exhausting problem of “doing too much.” This is evident in the glut of needle-drops, many of them anachronistic, which clutter the storytelling and club the viewer over the head with their obviousness. When Lucky responds to one of Betty’s racist tirades by smacking her clear across the face (right after she politely asks little Gracie to hold her purse), James Brown’s electrifying “\u003ca href=\"https://www.youtube.com/watch?v=istJXUJJP0g\" target=\"_blank\" rel=\"noopener noreferrer\">The Payback\u003c/a>” kicks in for a hot second; yet the punctuation feels less like a triumphant nod to \u003ca href=\"https://www.youtube.com/watch?v=GCc99Gh-IEM\" target=\"_blank\" rel=\"noopener noreferrer\">Foxy Brown\u003c/a> than it does a crass, intentional play for Black Twitter meme status. There are so many stylish music cues like this that early on it begins to seem as if the writers have relied on the likes of Judy Garland, Nat King Cole, and Isaac Hayes to do all of the heavy lifting to cover up the thin story.\u003c/p>\n\u003cp>\u003cem>Them \u003c/em>is also drowning in terror and trauma, and little else. And that trauma and terror are so horrific, several episodes begin with content warnings of graphic violence. I’m not one who believes every piece of art depicting awful events needs such disclosure, but in this case, the producers made the correct choice; there are scenes involving Black pain and suffering so mortifying, I can imagine many viewers not being able to finish watching it.\u003c/p>\n\u003cp>The attention to the details of this suffering is chilling not necessarily because of what is depicted—there’s a time and place for such explicitness in the right creative hands—but because it’s depicted in service of a cynical mode of storytelling. Each of the Emorys are haunted by a demon corresponding to their individual life experiences, and through these spirits, one can see the makings of a potentially more interesting character study than what we’re given—a story using supernatural elements to tap into trauma within Black families with the richness and sharpness of a movie like Kasi Lemmons’ \u003cem>Eve’s Bayou\u003c/em> or, more recently, \u003ca href=\"https://www.youtube.com/watch?v=DYY0QJhlXjc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>His House\u003c/em>\u003c/a>, the captivating haunted house tale about a South Sudanese refugee couple living in the U.K.\u003c/p>\n\u003cp>Instead it borrows from the playbook of last year’s unwieldly and exploitative \u003ca href=\"https://www.npr.org/2020/09/15/913246254/what-exactly-is-antebellum-trying-to-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Antebellum\u003c/em>\u003c/a>, and shows like \u003cem>Westworld \u003c/em>and \u003cem>Lovecraft Country, \u003c/em>which favor slick convolution over coherent narrative choices\u003cem>. \u003c/em>There are So! Many! Ideas! And! Tones! being mashed up here, and to little effect. At one point the show diverts to a baffling hostage-in-a-bunker plotline for reasons that remain unclear.\u003c/p>\n\u003cp>When the full trailer for \u003cem>Them \u003c/em>dropped last month, the Twitter timeline was alit with commentary about how the show’s themes and aesthetic seemed to be \u003ca href=\"http://abcnewsradioonline.com/music-news/2021/3/23/us-against-them-amazon-series-roasted-as-ripoff-of-jordan-pe-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">biting from Jordan Peele\u003c/a>. Superficial similarities aside—the titles \u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Us\u003c/em>\u003c/a> vs. \u003cem>Them\u003c/em>; the casting of Shahadi Wright Joseph in both projects—such conclusions gloss over a few realities, such as the fact that Peele himself has always been vocal about the \u003ca href=\"https://www.vulture.com/article/get-out-oral-history-jordan-peele.html\" target=\"_blank\" rel=\"noopener noreferrer\">many films that inspired \u003cem>his own\u003c/em> work\u003c/a>. They also seem to misunderstand, or ignore, how genres fundamentally build upon and play with familiar elements and tropes. There’s as much standard horror stuff of the Stephen King variety in \u003cem>Them\u003c/em> as there is Peele’s influence.\u003c/p>\n\u003cp>The problem, then, has less to do with parallels to \u003cem>Get Out \u003c/em>than the show’s inability to establish a reason to exist beyond the thesis of “Racism is terrorism, and it’s everywhere; in our entertainment, schools, workspaces, churches, homes.” It’s a fair starting point for telling a story (or teaching basic history), but it can’t be the \u003cem>only \u003c/em>point. By all means, wrestle with the real-life terrors that can come with Black homeownership, Black parenting, white women’s complicity in upholding racist infrastructure, and so on. But also bring more to the narrative in the way of inventive scares, characterization, or even, where appropriate, some levity.\u003c/p>\n\u003cp>\u003cem>Them\u003c/em> suffers from the same predicament that has arisen in the wake of Black people becoming hashtags in death—the public knows far more about their last moments on Earth than all the moments that made up their life before. Viewers who make it through all 10 episodes will know plenty about how the Emorys have suffered and been traumatized, but they won’t come away with much else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Them \u003c/strong>\u003c/em>\u003cstrong>debuts on Amazon Prime on Friday, April 9.\u003c/strong>\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=%27Them%27%3A+The+Trauma%2C+The+Trauma&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Dance Can Give Community': Twyla Tharp on Choreographing Through Lockdown",
"headTitle": "‘Dance Can Give Community’: Twyla Tharp on Choreographing Through Lockdown | KQED",
"content": "\u003cp>Neither the pandemic nor age can keep legendary choreographer Twyla Tharp from her work. During the height of the COVID-19 lockdown, Tharp, now 79, choreographed several dances through Zoom. One was with four dancers—each of whom was in a different time zone.\u003c/p>\n\u003cp>“One dancer was in New York at noon. One dancer was on the West Coast before breakfast. One dancer was in Denmark five hours ahead, and one dancer was in St. Petersburg working through their dinner hour,” Tharp says. “Nothing was capable of keeping us from having community. And that’s what dance can give—dance can give community.”\u003c/p>\n\u003cp>It’s not the first time Tharp has worked in unusual conditions. In the 1960s, Tharp and her company of dancers performed in parks and malls, and on subway platforms and rooftops. “If it was kind of level, it was fair territory,” she says.\u003c/p>\n\u003cp>Tharp went on to choreograph for Mikhail Baryshnikov, the Joffrey Ballet, the Royal Ballet, the New York City Ballet and the American Ballet Theatre. She’s also collaborated with \u003ca href=\"https://www.npr.org/2020/10/13/923258756/david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia\" target=\"_blank\" rel=\"noopener noreferrer\">David Byrne \u003c/a>and \u003ca href=\"https://www.npr.org/artists/15827020/billy-joel\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Joel\u003c/a> on Broadway shows.\u003c/p>\n\u003cp>Tharp is known for mixing ballet with other styles of dance: “I had always felt that one dancer should be able to dance across the line,” she says. “That is to say: When I started working in New York, you were either modern dancer, or you were a ballet dancer. I thought that was ridiculous, because I could be both a ballet dancer and a modern dancer, so shouldn’t everybody else be able to do that?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tharp is the subject of \u003ca href=\"https://www.pbs.org/wnet/americanmasters/twyla-tharp-documentary/16724/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Twyla Moves,\u003c/em>\u003c/a> a new documentary by the PBS series, American Masters.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pYpeHbCEyCM\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On starting to dance as a small child\u003c/strong>\u003c/p>\n\u003cp>I started with music training both in piano and violin and percussion, and the dancing came after the fact. But on the other hand, my mother was a concert pianist and as a very tiny baby, I was going to her classes. And so I was always wiggling and then I could crawl and then I could sort of hop. So I’ve always been dancing to music.\u003c/p>\n\u003cp>\u003cstrong>On what made her early choreography different from others \u003c/strong>\u003c/p>\n\u003cp>I think the first thing was to eliminate the idea of steps or styles—it was to get to fundamentals of movement. And we were looking for very common, [ordinary] shared modes of movement. By ordinary, I mean not extremely sophisticated in training folks might have, and then how could that be extended and become more challenging for us who had had the advantage of that kind of training. …\u003c/p>\n\u003cp>When I was beginning, I wanted to go back to the very mechanics: You either start on the right side or the left side. You either coordinate in opposition to the forward moving leg or parallel to the forward moving legs. You’re either moving forwards or you’re moving backwards or laterally, side-to-side. All of these kinds of, really, engineering questions are [a] kind of launch point, because I didn’t want to take anything for granted. I wanted to feel as though my fundamentals were sound.\u003c/p>\n\u003cp>\u003cstrong>On performing dance without music \u003c/strong>\u003c/p>\n\u003cp>Music is much more comfortable for the general public than movement. I often say: Take one phrase of movement and put on happy music, [and] the audience thinks it’s a happy dance. Put on sad music and they’ll think it’s a sad dance, and the movement is exactly the same. So I wanted to try to see what the emotional resonance of movement was. What excited people? What was provocative? What would they register? Not all of those, but many visual questions were asked. And that wouldn’t have been possible with music, because music is so overpowering.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted to start an all-women dance company in 1966 \u003c/strong>\u003c/p>\n\u003cp>I think we knew there was a bias in the world of art across the board, whether it was music, painting, sculpture, literature [or] dance. And we wanted to fortify ourselves in such a way that we could put forth what we thought was our strongest suit. And our strongest suit was a lot of technique and a lot of incredible ensemble work, but also strong individual voices. … We all had singular qualities, and that was clearer if we were all women, than had a man been in the group, we would have been the women [and] he would … have been the man, and that would have become the distinctive, defining characteristic rather than the individual qualities of each human being.\u003c/p>\n\u003cp>\u003cstrong>On wanting dancers with different body types in her company [aside postid='arts_13887871']\u003c/strong>\u003c/p>\n\u003cp>In order to be inclusive, you need to have differentiation. So by having [different dancers who are] tall, short, classically trained, [without] classic training, [a] great athlete—all of these various qualities would redefine and give a three-dimensional quality to the work that obviously is lacking if there is a body type that is featured throughout the ensemble. One understands that need [for] fungibility in professional companies because if one dancer goes out, they want to be able to put another one in as directly and efficiently as possible and hopefully in the same costume. It’s all the bottom line, right? To me, that was not what dancing was about and it still isn’t.\u003c/p>\n\u003cp>\u003cstrong>On choreographing men who didn’t want to be taught by a woman \u003c/strong>\u003c/p>\n\u003cp>I’m a very strong jumper. And I jumped higher, longer, than most of the men. So it was like, “OK, guys, let’s go.” That’s how I’ve basically always been able to work with men: through strength and by a kind of challenge. … But, you know, men can be very arrogant—we all can. … If they were given the opportunity to work around that bias, many of them would, and gratefully. I mean, you’ll see some male dancers in \u003cem>Deuce Coupe\u003c/em> … were doing kind of extraordinary things. I think they were glad to be asked to work in a different way, eventually. It took a little doing, perhaps. … A couple never came around, but that’s OK.\u003c/p>\n\u003cp>\u003cstrong>On what her body is capable of at age 79 \u003c/strong>\u003c/p>\n\u003cp>This last year, with the pandemic and its disruptions in terms of routine, discipline, just ordinary day-to-day activities, the body doesn’t know itself at the moment. So I can’t tell you what I can ask it to do until I re-familiarize myself. And I’m in the process of doing that. … Whenever I’ve finished one of these big projects, I’m out of shape, and that’s just a given. So I’ve been in this position before, not at this age, but I know that it is a commitment to get back into shape. It’s not going to happen on its own accord.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dance+Can+Give+Community%27%3A+Twyla+Tharp+On+Choreographing+Through+Lockdown&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neither the pandemic nor age can keep legendary choreographer Twyla Tharp from her work. During the height of the COVID-19 lockdown, Tharp, now 79, choreographed several dances through Zoom. One was with four dancers—each of whom was in a different time zone.\u003c/p>\n\u003cp>“One dancer was in New York at noon. One dancer was on the West Coast before breakfast. One dancer was in Denmark five hours ahead, and one dancer was in St. Petersburg working through their dinner hour,” Tharp says. “Nothing was capable of keeping us from having community. And that’s what dance can give—dance can give community.”\u003c/p>\n\u003cp>It’s not the first time Tharp has worked in unusual conditions. In the 1960s, Tharp and her company of dancers performed in parks and malls, and on subway platforms and rooftops. “If it was kind of level, it was fair territory,” she says.\u003c/p>\n\u003cp>Tharp went on to choreograph for Mikhail Baryshnikov, the Joffrey Ballet, the Royal Ballet, the New York City Ballet and the American Ballet Theatre. She’s also collaborated with \u003ca href=\"https://www.npr.org/2020/10/13/923258756/david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia\" target=\"_blank\" rel=\"noopener noreferrer\">David Byrne \u003c/a>and \u003ca href=\"https://www.npr.org/artists/15827020/billy-joel\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Joel\u003c/a> on Broadway shows.\u003c/p>\n\u003cp>Tharp is known for mixing ballet with other styles of dance: “I had always felt that one dancer should be able to dance across the line,” she says. “That is to say: When I started working in New York, you were either modern dancer, or you were a ballet dancer. I thought that was ridiculous, because I could be both a ballet dancer and a modern dancer, so shouldn’t everybody else be able to do that?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tharp is the subject of \u003ca href=\"https://www.pbs.org/wnet/americanmasters/twyla-tharp-documentary/16724/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Twyla Moves,\u003c/em>\u003c/a> a new documentary by the PBS series, American Masters.\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/pYpeHbCEyCM'\n title='//www.youtube.com/embed/pYpeHbCEyCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On starting to dance as a small child\u003c/strong>\u003c/p>\n\u003cp>I started with music training both in piano and violin and percussion, and the dancing came after the fact. But on the other hand, my mother was a concert pianist and as a very tiny baby, I was going to her classes. And so I was always wiggling and then I could crawl and then I could sort of hop. So I’ve always been dancing to music.\u003c/p>\n\u003cp>\u003cstrong>On what made her early choreography different from others \u003c/strong>\u003c/p>\n\u003cp>I think the first thing was to eliminate the idea of steps or styles—it was to get to fundamentals of movement. And we were looking for very common, [ordinary] shared modes of movement. By ordinary, I mean not extremely sophisticated in training folks might have, and then how could that be extended and become more challenging for us who had had the advantage of that kind of training. …\u003c/p>\n\u003cp>When I was beginning, I wanted to go back to the very mechanics: You either start on the right side or the left side. You either coordinate in opposition to the forward moving leg or parallel to the forward moving legs. You’re either moving forwards or you’re moving backwards or laterally, side-to-side. All of these kinds of, really, engineering questions are [a] kind of launch point, because I didn’t want to take anything for granted. I wanted to feel as though my fundamentals were sound.\u003c/p>\n\u003cp>\u003cstrong>On performing dance without music \u003c/strong>\u003c/p>\n\u003cp>Music is much more comfortable for the general public than movement. I often say: Take one phrase of movement and put on happy music, [and] the audience thinks it’s a happy dance. Put on sad music and they’ll think it’s a sad dance, and the movement is exactly the same. So I wanted to try to see what the emotional resonance of movement was. What excited people? What was provocative? What would they register? Not all of those, but many visual questions were asked. And that wouldn’t have been possible with music, because music is so overpowering.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted to start an all-women dance company in 1966 \u003c/strong>\u003c/p>\n\u003cp>I think we knew there was a bias in the world of art across the board, whether it was music, painting, sculpture, literature [or] dance. And we wanted to fortify ourselves in such a way that we could put forth what we thought was our strongest suit. And our strongest suit was a lot of technique and a lot of incredible ensemble work, but also strong individual voices. … We all had singular qualities, and that was clearer if we were all women, than had a man been in the group, we would have been the women [and] he would … have been the man, and that would have become the distinctive, defining characteristic rather than the individual qualities of each human being.\u003c/p>\n\u003cp>\u003cstrong>On wanting dancers with different body types in her company \u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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