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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\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/sp7Lhdc4-vw'\n title='//www.youtube.com/embed/sp7Lhdc4-vw'\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>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\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=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Lovecraft Country' Creator Aims to Reclaim the Horror Genre for People of Color",
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"content": "\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” [aside postid='arts_13884889']\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. [aside postid='arts_13853443']\u003c/p>\n\u003cp>One of the things that we were talking a lot about with the show was this idea of it being out of time, that they’re going and doing things, they’re going to space, they’re going back in the past, so how do we break that up? And then that idea of “scource” as we called it, which is source and score, came to me of using these pieces. I had been soaking in things like Beyoncé’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lemonade\u003c/em> \u003c/a>and \u003cem>I Am Not Your Negro\u003c/em>. And it was hearing those voices in those poems and [James] Baldwin’s voice. And I was going, “Oh, can we do that in \u003cem>Lovecraft Country\u003c/em>?” So that was kind of our big audio swing, was this idea of taking found footage audio and placing it wholesale over scenes and using it as [a] score.\u003c/p>\n\u003cp>\u003cstrong>On her priorities for developing her own writer’s room \u003c/strong>\u003c/p>\n\u003cp>Diversity and younger writers, I think that it was important to me. It’s one of the things that I said to HBO is that I don’t want upper-level writers. They were really pushing upper-level writers, which was understandable, because it’s a very big, ambitious show, an intricate show. But for me, I was like, I want new voices. Hollywood is the biggest storytelling machine there is and we all live our lives through stories, so it is giving us a story on how to live our lives, and right now it’s a monolith of white men. And I think it’s very important to change that. So when I had my own room, I knew that it was not going to look like the rooms I had been in before and that it was going to be a struggle, too, because I think in a lot of rooms, the minority voices are not there to actually be heard. So figuring out how to encourage everybody to be like, “You have a platform here, speak up! Speak up! Let’s talk. Let’s figure it out.” [That] was also an interesting new turn for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan 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=%27Lovecraft+Country%27+Creator+Aims+To+Reclaim+The+Horror+Genre+For+People+Of+Color+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things that we were talking a lot about with the show was this idea of it being out of time, that they’re going and doing things, they’re going to space, they’re going back in the past, so how do we break that up? And then that idea of “scource” as we called it, which is source and score, came to me of using these pieces. I had been soaking in things like Beyoncé’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lemonade\u003c/em> \u003c/a>and \u003cem>I Am Not Your Negro\u003c/em>. And it was hearing those voices in those poems and [James] Baldwin’s voice. And I was going, “Oh, can we do that in \u003cem>Lovecraft Country\u003c/em>?” So that was kind of our big audio swing, was this idea of taking found footage audio and placing it wholesale over scenes and using it as [a] score.\u003c/p>\n\u003cp>\u003cstrong>On her priorities for developing her own writer’s room \u003c/strong>\u003c/p>\n\u003cp>Diversity and younger writers, I think that it was important to me. It’s one of the things that I said to HBO is that I don’t want upper-level writers. They were really pushing upper-level writers, which was understandable, because it’s a very big, ambitious show, an intricate show. But for me, I was like, I want new voices. Hollywood is the biggest storytelling machine there is and we all live our lives through stories, so it is giving us a story on how to live our lives, and right now it’s a monolith of white men. And I think it’s very important to change that. So when I had my own room, I knew that it was not going to look like the rooms I had been in before and that it was going to be a struggle, too, because I think in a lot of rooms, the minority voices are not there to actually be heard. So figuring out how to encourage everybody to be like, “You have a platform here, speak up! Speak up! Let’s talk. Let’s figure it out.” [That] was also an interesting new turn for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. 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"content": "\u003cp>\u003cem>\u003cstrong>Over 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3233437392&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, an innovative depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiTBGPmL2mo\u003c/p>\n\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles. She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Cheryl Dunye.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Wondering just how you feel about that film [The Watermelon Woman] being twenty five years into its success?\u003c/em>\u003c/p>\n\u003cp>Cheryl: At the time when I made it, back in 94/95… I had been doing a lot of work as an art curator and was on that path to make art. Ostensibly, The Watermelon Woman is a piece of art, and sort of lives in both worlds.\u003c/p>\n\u003cp>Cheryl: Something that was sort of biting at me as an African-American lesbian and seeing all these new queer films coming out — It’s been labeled as the Queer New Wave — Also at that time period was the culture wars — So we’re talking about looking at culture, looking at representation, looking at intersectionality. It’s about me. It’s about my community. I wanted to put people in the film that I saw in my world. Audre Lorde was alive around that time. So I was just doing my work, as Audre Lorde would say.\u003c/p>\n\u003cp>Cheryl: So [I made] the first African-American lesbian feature because there was none… It took a while for people to understand and accept and see all that… It’s only now in retrospect where people are like, ‘oh my God, that’s groundbreaking.’\u003c/p>\n\u003cp>\u003cem>Pen: What’s Dunyementery and how do you wish they would teach it in classes?\u003c/em>\u003c/p>\n\u003cp>Cheryl: So, the Dunyementary is Do-Your-Own-Mentary… If you are living in the margins and you’re invisible… you can do anything. So marginality is my strength in that sense. It allowed me to have my own sense of visibility, it help me create my own world, make my own cinema. So the Dunyementary is basically putting myself in my own picture with my own truth, using documentary elements.\u003c/p>\n\u003cp>Cheryl: I was calling it the theory of 3’s, where you see me talking to you, in sort of a talking head style.. you see a vignette… and then you see text that says something, or is poetic or whatnot on a title card.\u003c/p>\n\u003cp>Cheryl: And if you didn’t understand who I was, or what I’m talking about at that point, then bye bye!\u003c/p>\n\u003cp>\u003cem>Pen: [laughs] I like the break down.\u003c/em>\u003c/p>\n\u003cp>Cheryl: I really wanted to kind of put the truth of what my life was like. I’ve always been out. I was never in the closet or anything, so I really wanted to [show] a life that was my life, not coming out, lived, a little bit damaged, functional, dreaming, stuck on traffic, whatever I was doing. I had to put those real elements that people don’t really include in film, but makes it much more authentic…. you see people picking up on that style, later on… The \u003cem>40 Year Old Version\u003c/em> sorta used that style in a good way.\u003c/p>\n\u003cp>\u003cem>Pen: The realness and intimacy. How did that influence or inform the direction that you did for Lovecraft Country: Strange Case?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I had just, you know, ran crazily to \u003cem>Lovecraft Country\u003c/em> with all my visions… I’m queer, I know cinema, I know Blackness. And in my first film, \u003cem>Janine\u003c/em>, it talks about my relationships with a white young girl in high school and having a crush on her… and desire questioning whiteness and blackness and skin and stuff like that. So I brought all that.\u003c/p>\n\u003cp>Cheryl: And then most of the cinematic visuals in it are from my family… My father worked at Polaroid. We had tons of cameras around the house. My mom had pictures from the forties and fifties and thirties. And I would just look at these things. I just dipped into myself again using my own stuff and putting that on top of some wonderful writing by [Misha Green], Sonya [Winton] and [Jonathan] Kidd.\u003c/p>\n\u003cp>\u003cem>Pen: I love it. It’s like this thread of you being a scholar, a scholar of yourself, a scholar of art, a scholar of Philly… Your production company Jingletown Films is obviously influenced by Oakland. I’m wondering, how was the history of Oakland, of Jingletown specifically, influenced you and your filmmaking?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I was living in Jingletown! Which is a section of Oakland in the Fruitvale area, I could see Fruitvale Station from my loft window.\u003c/p>\n\u003cp>Cheryl: Jingletown was named Jingletown because there were workers there who, back in the early 20th century, when they got paid, they had money in their pocket and it would jingle. And that’s sort of where that came from. So I thought it was a wonderful way to name the company.\u003c/p>\n\u003cp>Cheryl: And then, lo and behold, people are on the street just running into Boots Riley, right. Running into Natalie Baszile, who wrote Queen Sugar the book and just running to a variety of other filmmakers and artists.\u003c/p>\n\u003cp>Cheryl: Oakland is historically, one of the most powerful Black places and woman spaces and queer spaces in the world. And to be at the epicenter of all that, that was a choice for me to move to Oakland. Some people were lucky, to magically be able to be from there. Which I wasn’t. I moved [to Oakland] full time in about 2010… I was living in L.A. I was like, I’m done with L.A. This is where I want to be. I feel complete. I feel agency. And that’s why the company is called Jingletown, because it’s the possibility and agency that we must give ourselves…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Queer Black cinema legend Cheryl Dunye has made Oakland her home since 2010. She talks about making film in the margins and how that led to the Dunyementary style.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Over 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3233437392&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, an innovative depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.”\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/OiTBGPmL2mo'\n title='//www.youtube.com/embed/OiTBGPmL2mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles. She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Cheryl Dunye.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Wondering just how you feel about that film [The Watermelon Woman] being twenty five years into its success?\u003c/em>\u003c/p>\n\u003cp>Cheryl: At the time when I made it, back in 94/95… I had been doing a lot of work as an art curator and was on that path to make art. Ostensibly, The Watermelon Woman is a piece of art, and sort of lives in both worlds.\u003c/p>\n\u003cp>Cheryl: Something that was sort of biting at me as an African-American lesbian and seeing all these new queer films coming out — It’s been labeled as the Queer New Wave — Also at that time period was the culture wars — So we’re talking about looking at culture, looking at representation, looking at intersectionality. It’s about me. It’s about my community. I wanted to put people in the film that I saw in my world. Audre Lorde was alive around that time. So I was just doing my work, as Audre Lorde would say.\u003c/p>\n\u003cp>Cheryl: So [I made] the first African-American lesbian feature because there was none… It took a while for people to understand and accept and see all that… It’s only now in retrospect where people are like, ‘oh my God, that’s groundbreaking.’\u003c/p>\n\u003cp>\u003cem>Pen: What’s Dunyementery and how do you wish they would teach it in classes?\u003c/em>\u003c/p>\n\u003cp>Cheryl: So, the Dunyementary is Do-Your-Own-Mentary… If you are living in the margins and you’re invisible… you can do anything. So marginality is my strength in that sense. It allowed me to have my own sense of visibility, it help me create my own world, make my own cinema. So the Dunyementary is basically putting myself in my own picture with my own truth, using documentary elements.\u003c/p>\n\u003cp>Cheryl: I was calling it the theory of 3’s, where you see me talking to you, in sort of a talking head style.. you see a vignette… and then you see text that says something, or is poetic or whatnot on a title card.\u003c/p>\n\u003cp>Cheryl: And if you didn’t understand who I was, or what I’m talking about at that point, then bye bye!\u003c/p>\n\u003cp>\u003cem>Pen: [laughs] I like the break down.\u003c/em>\u003c/p>\n\u003cp>Cheryl: I really wanted to kind of put the truth of what my life was like. I’ve always been out. I was never in the closet or anything, so I really wanted to [show] a life that was my life, not coming out, lived, a little bit damaged, functional, dreaming, stuck on traffic, whatever I was doing. I had to put those real elements that people don’t really include in film, but makes it much more authentic…. you see people picking up on that style, later on… The \u003cem>40 Year Old Version\u003c/em> sorta used that style in a good way.\u003c/p>\n\u003cp>\u003cem>Pen: The realness and intimacy. How did that influence or inform the direction that you did for Lovecraft Country: Strange Case?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I had just, you know, ran crazily to \u003cem>Lovecraft Country\u003c/em> with all my visions… I’m queer, I know cinema, I know Blackness. And in my first film, \u003cem>Janine\u003c/em>, it talks about my relationships with a white young girl in high school and having a crush on her… and desire questioning whiteness and blackness and skin and stuff like that. So I brought all that.\u003c/p>\n\u003cp>Cheryl: And then most of the cinematic visuals in it are from my family… My father worked at Polaroid. We had tons of cameras around the house. My mom had pictures from the forties and fifties and thirties. And I would just look at these things. I just dipped into myself again using my own stuff and putting that on top of some wonderful writing by [Misha Green], Sonya [Winton] and [Jonathan] Kidd.\u003c/p>\n\u003cp>\u003cem>Pen: I love it. It’s like this thread of you being a scholar, a scholar of yourself, a scholar of art, a scholar of Philly… Your production company Jingletown Films is obviously influenced by Oakland. I’m wondering, how was the history of Oakland, of Jingletown specifically, influenced you and your filmmaking?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I was living in Jingletown! Which is a section of Oakland in the Fruitvale area, I could see Fruitvale Station from my loft window.\u003c/p>\n\u003cp>Cheryl: Jingletown was named Jingletown because there were workers there who, back in the early 20th century, when they got paid, they had money in their pocket and it would jingle. And that’s sort of where that came from. So I thought it was a wonderful way to name the company.\u003c/p>\n\u003cp>Cheryl: And then, lo and behold, people are on the street just running into Boots Riley, right. Running into Natalie Baszile, who wrote Queen Sugar the book and just running to a variety of other filmmakers and artists.\u003c/p>\n\u003cp>Cheryl: Oakland is historically, one of the most powerful Black places and woman spaces and queer spaces in the world. And to be at the epicenter of all that, that was a choice for me to move to Oakland. Some people were lucky, to magically be able to be from there. Which I wasn’t. I moved [to Oakland] full time in about 2010… I was living in L.A. I was like, I’m done with L.A. This is where I want to be. I feel complete. I feel agency. And that’s why the company is called Jingletown, because it’s the possibility and agency that we must give ourselves…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "HBO’s ‘TINA’ Raises Questions About How We Treat Famous Survivors of Abuse",
"headTitle": "HBO’s ‘TINA’ Raises Questions About How We Treat Famous Survivors of Abuse | KQED",
"content": "\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w9IkVtLvflU\u003c/p>\n\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arrington recalls in \u003cem>TINA\u003c/em> that “she wanted to just tell it and then forget it. It didn’t quite work out that way.” [aside postid='arts_13890087']\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” [aside postid='arts_13892800']\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘TINA’ premieres on Saturday, March 27, on HBO. \u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\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/w9IkVtLvflU'\n title='//www.youtube.com/embed/w9IkVtLvflU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cynthia Erivo Shines as Aretha Franklin in New Miniseries, 'Genius: Aretha'",
"headTitle": "Cynthia Erivo Shines as Aretha Franklin in New Miniseries, ‘Genius: Aretha’ | KQED",
"content": "\u003cp>Soul legend \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> received the television-miniseries treatment with \u003cem>Genius: Aretha\u003c/em>, a project that works best when it lets her music do the talking.\u003c/p>\n\u003cp>Cynthia Erivo plays Aretha who, moments into the start of \u003cem>Genius\u003c/em>, makes it clear that they found the right woman for this job. Recreating the tumultuous life of Aretha Franklin requires more, however, than just singing her classic hits with power and excitement. It requires revisiting a life filled with trauma and challenges, as foreshadowed by journalists questioning Franklin on who “calls the shots,” her father or her husband, at a press conference (to which she responds, “I think you’ve all been reading a few too many gossip columns”).\u003c/p>\n\u003cp>She learns to free herself from the men in her life determined to dominate her, beginning with her father, renowned Baptist preacher and civil rights activist the Rev. C.L. Franklin. Courtney B. Vance is magnetic as the elder Franklin, a preacher who, one character says, “loved Sunday morning \u003cem>and\u003c/em> Saturday night.” In one scene, he’s urging a tween-age Aretha to sing at a house party before \u003ca href=\"https://www.npr.org/artists/15196957/art-tatum\" target=\"_blank\" rel=\"noopener noreferrer\">Art Tatum\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\" target=\"_blank\" rel=\"noopener noreferrer\">Dinah Washington\u003c/a>. But the Rev. Franklin is also shown as a compulsive womanizer, confronted by his girlfriend—who Aretha had grown to love, hoping she would become her stepmom.\u003c/p>\n\u003cp>A fight over infidelity followed by violence is a cycle we see repeated with Aretha and her husband Ted, after he ruins a recording session by fighting in the studio. “You were supposed to be good as gold,” Aretha says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjw3-JMm5Sc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite crackling performances from Erivo, Vance and the actress who plays young Aretha, Shaian Jordan, \u003cem>Genius: Aretha\u003c/em> too often unfolds like a predictable biopic burdened by ham-handed storytelling.\u003c/p>\n\u003cp>It’s the third installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series, but the first about a woman or a non-white person, following seasons on Albert Einstein and Pablo Picasso. So, some may be disappointed in how it presents a succession of Black men who take advantage of Franklin, from her philandering father, to her philandering husband, to a man who left her pregnant at age 12.\u003c/p>\n\u003cp>The best moments involve showing how Franklin transitioned from gospel star to soul diva. That includes a scene where producer, songwriter and performer Curtis Mayfield urges her to channel her tribulations into her vocals in the studio: “You move people; you take the heaviness of life and you make it beautiful. We need \u003cem>that\u003c/em>.”\u003c/p>\n\u003cp>Aretha sings again, but this time pouring herself out over a swaying track called “Something He Can Feel.” If more moments in \u003cem>Genius: Aretha\u003c/em> matched this one, it would truly be the triumph Erivo and the Queen of Soul deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Genius: Aretha\u003cem> debuts this Sunday, March 21, on the National Geographic channel.\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=Aretha+Franklin+Shines+In%2C+And+Despite%2C+The+New+Miniseries%2C+%27Genius%3A+Aretha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soul legend \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> received the television-miniseries treatment with \u003cem>Genius: Aretha\u003c/em>, a project that works best when it lets her music do the talking.\u003c/p>\n\u003cp>Cynthia Erivo plays Aretha who, moments into the start of \u003cem>Genius\u003c/em>, makes it clear that they found the right woman for this job. Recreating the tumultuous life of Aretha Franklin requires more, however, than just singing her classic hits with power and excitement. It requires revisiting a life filled with trauma and challenges, as foreshadowed by journalists questioning Franklin on who “calls the shots,” her father or her husband, at a press conference (to which she responds, “I think you’ve all been reading a few too many gossip columns”).\u003c/p>\n\u003cp>She learns to free herself from the men in her life determined to dominate her, beginning with her father, renowned Baptist preacher and civil rights activist the Rev. C.L. Franklin. Courtney B. Vance is magnetic as the elder Franklin, a preacher who, one character says, “loved Sunday morning \u003cem>and\u003c/em> Saturday night.” In one scene, he’s urging a tween-age Aretha to sing at a house party before \u003ca href=\"https://www.npr.org/artists/15196957/art-tatum\" target=\"_blank\" rel=\"noopener noreferrer\">Art Tatum\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\" target=\"_blank\" rel=\"noopener noreferrer\">Dinah Washington\u003c/a>. But the Rev. Franklin is also shown as a compulsive womanizer, confronted by his girlfriend—who Aretha had grown to love, hoping she would become her stepmom.\u003c/p>\n\u003cp>A fight over infidelity followed by violence is a cycle we see repeated with Aretha and her husband Ted, after he ruins a recording session by fighting in the studio. “You were supposed to be good as gold,” Aretha says.\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/qjw3-JMm5Sc'\n title='//www.youtube.com/embed/qjw3-JMm5Sc'\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>Despite crackling performances from Erivo, Vance and the actress who plays young Aretha, Shaian Jordan, \u003cem>Genius: Aretha\u003c/em> too often unfolds like a predictable biopic burdened by ham-handed storytelling.\u003c/p>\n\u003cp>It’s the third installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series, but the first about a woman or a non-white person, following seasons on Albert Einstein and Pablo Picasso. So, some may be disappointed in how it presents a succession of Black men who take advantage of Franklin, from her philandering father, to her philandering husband, to a man who left her pregnant at age 12.\u003c/p>\n\u003cp>The best moments involve showing how Franklin transitioned from gospel star to soul diva. That includes a scene where producer, songwriter and performer Curtis Mayfield urges her to channel her tribulations into her vocals in the studio: “You move people; you take the heaviness of life and you make it beautiful. We need \u003cem>that\u003c/em>.”\u003c/p>\n\u003cp>Aretha sings again, but this time pouring herself out over a swaying track called “Something He Can Feel.” If more moments in \u003cem>Genius: Aretha\u003c/em> matched this one, it would truly be the triumph Erivo and the Queen of Soul deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Genius: Aretha\u003cem> debuts this Sunday, March 21, on the National Geographic channel.\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=Aretha+Franklin+Shines+In%2C+And+Despite%2C+The+New+Miniseries%2C+%27Genius%3A+Aretha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Here at Long (Really Long) Last, 'Zack Snyder's Justice League' is ... Pretty Good?",
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"content": "\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vM-Bja2Gy04\u003c/p>\n\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\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=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\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/vM-Bja2Gy04'\n title='//www.youtube.com/embed/vM-Bja2Gy04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\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=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Bachelor's Cluelessness About Race Comes to a Head in Season Finale",
"headTitle": "‘The Bachelor’s Cluelessness About Race Comes to a Head in Season Finale | KQED",
"content": "\u003cp>It’s a safe bet this wasn’t the conversation producers of \u003cem>The Bachelor\u003c/em> expected would cap Matt James’ season when they named him as the unscripted dating show’s first Black star.\u003c/p>\n\u003cp>But the tense, emotional exchange Monday night between James and former girlfriend Rachael Kirkconnell—where he revealed why he broke off their relationship after photos of her at an Antebellum South-themed party surfaced on social media—is the kind of conversation about race and white cluelessness that \u003cem>The Bachelor\u003c/em> has been avoiding for far too long.\u003c/p>\n\u003cp>“Rachael might not understand what it means to be Black in America,” James told host Emmanuel Acho during the show’s \u003cem>After the Final Rose\u003c/em> special Monday, dropping a line that felt like the understatement of the year.\u003c/p>\n\u003cp>Indeed, the show’s refusal to appreciate what it means to be Black on \u003cem>The Bachelor\u003c/em> is what made this moment. [aside postid='pop_27797']\u003c/p>\n\u003cp>It led producers to stumble into a roiling, race-centered controversy that has sidelined the show’s longtime host Chris Harrison, obliterated the storybook romance set up by months of pre-taped episodes, and forced the white woman James selected from a field of nearly 40 contestants to tearfully explain herself on national television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I see someone who was living in this ignorance, without thinking who it might be hurting,” Kirkconnell said, looking at a photo of herself hanging with friends at that fraternity party in 2018, decked out in frilly dresses, celebrating the spectacle of a bygone era.\u003c/p>\n\u003cp>Civil rights activists have criticized these kinds of parties for many years, noting that they elevate the beauty of the Old South’s plantations while erasing their roots in the bondage and brutal oppression of Black slaves. It’s similar to the denialism among some who seek to honor symbols of the Confederacy while downplaying or ignoring its role in fighting to maintain slavery.\u003c/p>\n\u003cp>Kirkconnell admitted as much on Monday, noting some supporters told her they didn’t think attending such parties were racist because they personally were not racist.\u003c/p>\n\u003cp>“I did get a lot of people saying, ‘This is normal where I grew up,'” she said. “People need to realize that just saying ‘This is normal where I came from’ … that doesn’t make it right. That doesn’t make it okay.”\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> stumbled into this mess because the show has refused to face how deeply centered on white culture the whole enterprise truly is—naming James as its first Black star in 25 seasons, after years of criticism for the omission. It has seemingly shown little regard for the extra pressure non-white people face in trying to compete on the program.\u003c/p>\n\u003cp>Worst of all, the show seems to have no clue how deeply embedded racism is in the fabric of American life—and how dating, especially across racial lines, can bring out those issues in ways that are explosive and damaging if not handled well. [aside postid='arts_13893077']\u003c/p>\n\u003cp>Acho, a former pro football linebacker who wrote the book and hosts a webcast called \u003cem>Uncomfortable Conversations with a Black Man\u003c/em>, led Monday’s discussion with the deft charm of a man used to untangling complex racial dynamics for clueless white people. He explained thorny concepts and sympathized with James, who spoke about the extra burden of avoiding stereotypes while starring on the show. (“It’s just what we’re conditioned to do as Black men,” James said. “Making people comfortable with your Blackness.”)\u003c/p>\n\u003cp>Acho stepped up when longtime host Chris Harrison announced he would step away from the program—a move which came after Harrison tried to defend Kirkconnell by suggesting Antebellum parties weren’t considered offensive in 2018, criticizing the “woke police” for targeting her.\u003c/p>\n\u003cp>It was a clumsy attempt at damage control that only made the controversy worse. Now Harrison’s future with the franchise is in doubt—he won’t be hosting the next two seasons of \u003cem>The Bachelorette\u003c/em> airing this summer and fall—even as his dismissive attitude seemed completely in tune with how producers have shrugged off past criticisms regarding race on the show.\u003c/p>\n\u003cp>Rachel Lindsay, who became the first Black woman to star in the spin off series \u003cem>The Bachelorette \u003c/em>in 2017, found her season marred by the antics of a white man who antagonized many of the show’s Black male contestants and had a history of inflammatory social media posts. Lindsay, who was interviewing Harrison for the TV show \u003cem>Extra\u003c/em> when he dropped his “woke police” comments, \u003ca href=\"https://extratv.com/2021/02/15/rachel-lindsay-reacts-to-chris-harrison-stepping-aside-after-her-headline-making-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">has emerged as a consistent critic\u003c/a> of the franchise’s handling of race.\u003c/p>\n\u003cp>Why doesn’t the show do a better job of screening its white contestants’ backgrounds? And why did it take so long for the show to name a Black man to star in \u003cem>The Bachelor\u003c/em> in the first place? These are questions that are tough to answer for another reason; the show’s producers don’t talk openly about what they do or why they do it.\u003c/p>\n\u003cp>James has perfected the show’s style of speaking in vague platitudes. So it was tough to discern from his answers Monday exactly what happened between him and Kirkconnell when the pictures surfaced; they both implied that she didn’t take the controversy seriously enough at first. [aside postid='pop_104953']\u003c/p>\n\u003cp>“It was in the context of you not fully understanding my Blackness … and what it would mean for our kids when I saw these things floating around the internet,” James told Kirkconnell about his decision to end their relationship. “I didn’t sign up to have this conversation.”\u003c/p>\n\u003cp>That may also be part of the problem. Because \u003cem>The Bachelor\u003c/em> is basically a princess fantasy—a soap opera featuring non-actors centered on a hunky guy choosing a romantic partner in the most idealized settings possible.\u003c/p>\n\u003cp>But talking about and understanding how race works in America is the opposite of fantasy. It’s a difficult, challenging process, which often requires facing uncomfortable truths. And James admitted \u003ca href=\"https://www.goodmorningamerica.com/culture/video/matt-james-opens-final-rose-special-76484182\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview on ABC’s \u003cem>Good Morning America\u003c/em>\u003c/a> Tuesday that he didn’t discuss race or the challenge of dating across racial lines with Kirkconnell before the controversy emerged.\u003c/p>\n\u003cp>It’s tough to know whether a franchise as manipulative and problematic as \u003cem>The Bachelor/Bachelorette\u003c/em> can ever correct itself enough to consistently handle racial issues well.\u003c/p>\n\u003cp>But with another Black woman scheduled to star in a future season of \u003cem>The Bachelorette\u003c/em>—Michelle Young, the runner-up in James’ season, \u003ca href=\"https://abc.com/shows/the-bachelorette/news/updates/whos-the-next-bachelorette-2021-two-seasons-katie-thurston-summer-michelle-young-fall\" target=\"_blank\" rel=\"noopener noreferrer\">was announced as star of the show’s 18th season Monday\u003c/a>—ABC’s high-profile franchise better raise its game in a hurry.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Or it won’t be long before another season goes down in flames, felled by its ignorance of race in a world which will no longer tolerate white cluelessness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelor%27s+Cluelessness+About+Race+Comes+To+A+Head+In+Season+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a safe bet this wasn’t the conversation producers of \u003cem>The Bachelor\u003c/em> expected would cap Matt James’ season when they named him as the unscripted dating show’s first Black star.\u003c/p>\n\u003cp>But the tense, emotional exchange Monday night between James and former girlfriend Rachael Kirkconnell—where he revealed why he broke off their relationship after photos of her at an Antebellum South-themed party surfaced on social media—is the kind of conversation about race and white cluelessness that \u003cem>The Bachelor\u003c/em> has been avoiding for far too long.\u003c/p>\n\u003cp>“Rachael might not understand what it means to be Black in America,” James told host Emmanuel Acho during the show’s \u003cem>After the Final Rose\u003c/em> special Monday, dropping a line that felt like the understatement of the year.\u003c/p>\n\u003cp>Indeed, the show’s refusal to appreciate what it means to be Black on \u003cem>The Bachelor\u003c/em> is what made this moment. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see someone who was living in this ignorance, without thinking who it might be hurting,” Kirkconnell said, looking at a photo of herself hanging with friends at that fraternity party in 2018, decked out in frilly dresses, celebrating the spectacle of a bygone era.\u003c/p>\n\u003cp>Civil rights activists have criticized these kinds of parties for many years, noting that they elevate the beauty of the Old South’s plantations while erasing their roots in the bondage and brutal oppression of Black slaves. It’s similar to the denialism among some who seek to honor symbols of the Confederacy while downplaying or ignoring its role in fighting to maintain slavery.\u003c/p>\n\u003cp>Kirkconnell admitted as much on Monday, noting some supporters told her they didn’t think attending such parties were racist because they personally were not racist.\u003c/p>\n\u003cp>“I did get a lot of people saying, ‘This is normal where I grew up,'” she said. “People need to realize that just saying ‘This is normal where I came from’ … that doesn’t make it right. That doesn’t make it okay.”\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> stumbled into this mess because the show has refused to face how deeply centered on white culture the whole enterprise truly is—naming James as its first Black star in 25 seasons, after years of criticism for the omission. It has seemingly shown little regard for the extra pressure non-white people face in trying to compete on the program.\u003c/p>\n\u003cp>Worst of all, the show seems to have no clue how deeply embedded racism is in the fabric of American life—and how dating, especially across racial lines, can bring out those issues in ways that are explosive and damaging if not handled well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Acho, a former pro football linebacker who wrote the book and hosts a webcast called \u003cem>Uncomfortable Conversations with a Black Man\u003c/em>, led Monday’s discussion with the deft charm of a man used to untangling complex racial dynamics for clueless white people. He explained thorny concepts and sympathized with James, who spoke about the extra burden of avoiding stereotypes while starring on the show. (“It’s just what we’re conditioned to do as Black men,” James said. “Making people comfortable with your Blackness.”)\u003c/p>\n\u003cp>Acho stepped up when longtime host Chris Harrison announced he would step away from the program—a move which came after Harrison tried to defend Kirkconnell by suggesting Antebellum parties weren’t considered offensive in 2018, criticizing the “woke police” for targeting her.\u003c/p>\n\u003cp>It was a clumsy attempt at damage control that only made the controversy worse. Now Harrison’s future with the franchise is in doubt—he won’t be hosting the next two seasons of \u003cem>The Bachelorette\u003c/em> airing this summer and fall—even as his dismissive attitude seemed completely in tune with how producers have shrugged off past criticisms regarding race on the show.\u003c/p>\n\u003cp>Rachel Lindsay, who became the first Black woman to star in the spin off series \u003cem>The Bachelorette \u003c/em>in 2017, found her season marred by the antics of a white man who antagonized many of the show’s Black male contestants and had a history of inflammatory social media posts. Lindsay, who was interviewing Harrison for the TV show \u003cem>Extra\u003c/em> when he dropped his “woke police” comments, \u003ca href=\"https://extratv.com/2021/02/15/rachel-lindsay-reacts-to-chris-harrison-stepping-aside-after-her-headline-making-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">has emerged as a consistent critic\u003c/a> of the franchise’s handling of race.\u003c/p>\n\u003cp>Why doesn’t the show do a better job of screening its white contestants’ backgrounds? And why did it take so long for the show to name a Black man to star in \u003cem>The Bachelor\u003c/em> in the first place? These are questions that are tough to answer for another reason; the show’s producers don’t talk openly about what they do or why they do it.\u003c/p>\n\u003cp>James has perfected the show’s style of speaking in vague platitudes. So it was tough to discern from his answers Monday exactly what happened between him and Kirkconnell when the pictures surfaced; they both implied that she didn’t take the controversy seriously enough at first. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was in the context of you not fully understanding my Blackness … and what it would mean for our kids when I saw these things floating around the internet,” James told Kirkconnell about his decision to end their relationship. “I didn’t sign up to have this conversation.”\u003c/p>\n\u003cp>That may also be part of the problem. Because \u003cem>The Bachelor\u003c/em> is basically a princess fantasy—a soap opera featuring non-actors centered on a hunky guy choosing a romantic partner in the most idealized settings possible.\u003c/p>\n\u003cp>But talking about and understanding how race works in America is the opposite of fantasy. It’s a difficult, challenging process, which often requires facing uncomfortable truths. And James admitted \u003ca href=\"https://www.goodmorningamerica.com/culture/video/matt-james-opens-final-rose-special-76484182\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview on ABC’s \u003cem>Good Morning America\u003c/em>\u003c/a> Tuesday that he didn’t discuss race or the challenge of dating across racial lines with Kirkconnell before the controversy emerged.\u003c/p>\n\u003cp>It’s tough to know whether a franchise as manipulative and problematic as \u003cem>The Bachelor/Bachelorette\u003c/em> can ever correct itself enough to consistently handle racial issues well.\u003c/p>\n\u003cp>But with another Black woman scheduled to star in a future season of \u003cem>The Bachelorette\u003c/em>—Michelle Young, the runner-up in James’ season, \u003ca href=\"https://abc.com/shows/the-bachelorette/news/updates/whos-the-next-bachelorette-2021-two-seasons-katie-thurston-summer-michelle-young-fall\" target=\"_blank\" rel=\"noopener noreferrer\">was announced as star of the show’s 18th season Monday\u003c/a>—ABC’s high-profile franchise better raise its game in a hurry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or it won’t be long before another season goes down in flames, felled by its ignorance of race in a world which will no longer tolerate white cluelessness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Bachelor%27s+Cluelessness+About+Race+Comes+To+A+Head+In+Season+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QG00h0OASmw\u003c/p>\n\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vv-Y1Ejhk4o\u003c/p>\n\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJDZiW_paM\u003c/p>\n\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\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/QG00h0OASmw'\n title='//www.youtube.com/embed/QG00h0OASmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\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/vv-Y1Ejhk4o'\n title='//www.youtube.com/embed/vv-Y1Ejhk4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\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/fTJDZiW_paM'\n title='//www.youtube.com/embed/fTJDZiW_paM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Bloodlands' Police Thriller Doesn't Trivialize Northern Ireland's Troubles",
"headTitle": "‘Bloodlands’ Police Thriller Doesn’t Trivialize Northern Ireland’s Troubles | KQED",
"content": "\u003cp>I was maybe 12 when I first saw \u003cem>The Third Man\u003c/em>, the noir classic set in a post-World War II Vienna bursting with expressionist atmospherics and jaunty amorality. Ever since, I’ve been drawn to tales set in the wake of historical turmoil. You get juicy stories when individuals—and whole societies—must deal with the guilts, losses and compromises they’d rather not think about. [aside postid='pop_107528']\u003c/p>\n\u003cp>The ghost of violence past haunts \u003cem>Bloodlands\u003c/em>, a new thriller set in a present-day Northern Ireland still struggling to rebuild a sense of normalcy in the aftermath of what’s known as the Troubles. Written by Chris Brandon, this four-part original series from the Acorn TV streaming service was produced by Jed Mercurio, whose hugely popular shows—such as \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bodyguard\u003c/em>\u003c/a> and \u003cem>Line of Duty\u003c/em>—are notorious for having more twists than a rattlesnake farm. \u003cem>Bloodlands\u003c/em> is more restrained, but trust me, it serves up a couple of lethal doozies.\u003c/p>\n\u003cp>Although you can follow the action without knowing the historical backstory, it helps to remember the basics. Starting in the late 1960s, Northern Ireland lived through a de-facto civil war between Catholics and Protestants, and the violence killed many thousands of its citizens. The conflict ran until the \u003ca href=\"https://www.wbur.org/hereandnow/2018/04/10/good-friday-agreement-ireland-george-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">Good Friday Agreement of 1998\u003c/a>, which brought about an uneasy peace in a small, intimate land where nobody was left untouched by bloodshed.\u003c/p>\n\u003cp>\u003cem>Bloodlands\u003c/em> begins 20 years after this truce when a car is fished from Strangford Lough with what seems to be a suicide note in it. Assigned to the case is bottled-up police detective Tom Brannick (James Nesbitt) and his partner Niamh—well-played by the sympathetically offbeat Charlene McKenna. Tom spots a connection between this note and an unsolved case—and not just \u003cem>any\u003c/em> unsolved case. This case, which dates back to the Troubles, involved an assassin nicknamed Goliath, who had ties to the police and who killed several people—including some who were close to Tom.\u003c/p>\n\u003cp>Just as Tom and Niamh begin reopening the Goliath case, they’re ordered to stop by Tom’s old friend—and police higher-up—Jackie Twomey, who’s come down from Belfast to take charge of things. Played by Lorcan Cranitch—an actor who could give seminars on seeming slippery—Jackie worries that digging into the past might shatter the precarious peace. Predictably, this doesn’t slow down Tom, who’s obsessed with burying Goliath once and for all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiHCX98D46U\u003c/p>\n\u003cp>If \u003cem>Bloodlands\u003c/em> initially strikes you as being a tad ponderous and formulaic, do stick around. The action starts to clip along, with nifty cinematography and deft use of the locations around the lovely Strangford Lough. Though I’m no great fan of Nesbitt, who invariably overdoes the clench-faced masculinity bit, the rest of the cast is strong, be it Peter Ballance as an IRA thug turned businessman or Lisa Dwan as a doctor who teaches Tom’s beloved daughter at medical school—and who seems to fancy Tom.\u003c/p>\n\u003cp>Now, there are two big ways that today’s crime dramas tend to go badly wrong. In an attempt to keep our adrenaline pumping, they often hit you with so many twists that the plot starts feeling arbitrary and meaningless. While \u003cem>Bloodlands\u003c/em> does have a few thriller-ish implausibilities, Brandon takes care to lay the groundwork for his big surprises, and he keeps them rooted in our sense of the characters and their world. The story builds to a finale that feels apt and emotionally satisfying. [aside postid='arts_13881516']\u003c/p>\n\u003cp>This is because \u003cem>Bloodlands\u003c/em> avoids the other big mistake, which is a moral one—that of trivializing historical tragedy. At first, I feared that Brandon was exploiting Northern Ireland’s tortured past simply to create a moody backdrop for a routine cop show. But I was wrong. While the series doesn’t rival the best recent looks at Northern Ireland—Anna Burns’ brilliant novel \u003ca href=\"https://www.npr.org/2018/12/04/672956730/brutally-intelligent-milkman-depicts-lives-cramped-by-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Milkman\u003c/em> \u003c/a>and Patrick Radden Keefe’s true crime masterpiece \u003ca href=\"https://www.npr.org/2019/03/04/698552913/say-nothing-murder-memory-and-a-masterful-history-of-the-troubles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Say Nothing\u003c/em>\u003c/a>—it does have something on its mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end, we see that \u003cem>Bloodlands\u003c/em> isn’t merely unfolding a crime story. It’s offering a metaphor for the troubled soul of Northern Ireland two decades after the Troubles supposedly ended. And its characters learn a hard truth we’ve been learning here in America, too: You can bury the past as deep as you want, but when you get home, its ghost is there waiting for you.\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=%27Bloodlands%27+Police+Thriller+Doesn%27t+Trivialize+Northern+Ireland%27s+Troubles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was maybe 12 when I first saw \u003cem>The Third Man\u003c/em>, the noir classic set in a post-World War II Vienna bursting with expressionist atmospherics and jaunty amorality. Ever since, I’ve been drawn to tales set in the wake of historical turmoil. You get juicy stories when individuals—and whole societies—must deal with the guilts, losses and compromises they’d rather not think about. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ghost of violence past haunts \u003cem>Bloodlands\u003c/em>, a new thriller set in a present-day Northern Ireland still struggling to rebuild a sense of normalcy in the aftermath of what’s known as the Troubles. Written by Chris Brandon, this four-part original series from the Acorn TV streaming service was produced by Jed Mercurio, whose hugely popular shows—such as \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bodyguard\u003c/em>\u003c/a> and \u003cem>Line of Duty\u003c/em>—are notorious for having more twists than a rattlesnake farm. \u003cem>Bloodlands\u003c/em> is more restrained, but trust me, it serves up a couple of lethal doozies.\u003c/p>\n\u003cp>Although you can follow the action without knowing the historical backstory, it helps to remember the basics. Starting in the late 1960s, Northern Ireland lived through a de-facto civil war between Catholics and Protestants, and the violence killed many thousands of its citizens. The conflict ran until the \u003ca href=\"https://www.wbur.org/hereandnow/2018/04/10/good-friday-agreement-ireland-george-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">Good Friday Agreement of 1998\u003c/a>, which brought about an uneasy peace in a small, intimate land where nobody was left untouched by bloodshed.\u003c/p>\n\u003cp>\u003cem>Bloodlands\u003c/em> begins 20 years after this truce when a car is fished from Strangford Lough with what seems to be a suicide note in it. Assigned to the case is bottled-up police detective Tom Brannick (James Nesbitt) and his partner Niamh—well-played by the sympathetically offbeat Charlene McKenna. Tom spots a connection between this note and an unsolved case—and not just \u003cem>any\u003c/em> unsolved case. This case, which dates back to the Troubles, involved an assassin nicknamed Goliath, who had ties to the police and who killed several people—including some who were close to Tom.\u003c/p>\n\u003cp>Just as Tom and Niamh begin reopening the Goliath case, they’re ordered to stop by Tom’s old friend—and police higher-up—Jackie Twomey, who’s come down from Belfast to take charge of things. Played by Lorcan Cranitch—an actor who could give seminars on seeming slippery—Jackie worries that digging into the past might shatter the precarious peace. Predictably, this doesn’t slow down Tom, who’s obsessed with burying Goliath once and for all.\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/jiHCX98D46U'\n title='//www.youtube.com/embed/jiHCX98D46U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Bloodlands\u003c/em> initially strikes you as being a tad ponderous and formulaic, do stick around. The action starts to clip along, with nifty cinematography and deft use of the locations around the lovely Strangford Lough. Though I’m no great fan of Nesbitt, who invariably overdoes the clench-faced masculinity bit, the rest of the cast is strong, be it Peter Ballance as an IRA thug turned businessman or Lisa Dwan as a doctor who teaches Tom’s beloved daughter at medical school—and who seems to fancy Tom.\u003c/p>\n\u003cp>Now, there are two big ways that today’s crime dramas tend to go badly wrong. In an attempt to keep our adrenaline pumping, they often hit you with so many twists that the plot starts feeling arbitrary and meaningless. While \u003cem>Bloodlands\u003c/em> does have a few thriller-ish implausibilities, Brandon takes care to lay the groundwork for his big surprises, and he keeps them rooted in our sense of the characters and their world. The story builds to a finale that feels apt and emotionally satisfying. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is because \u003cem>Bloodlands\u003c/em> avoids the other big mistake, which is a moral one—that of trivializing historical tragedy. At first, I feared that Brandon was exploiting Northern Ireland’s tortured past simply to create a moody backdrop for a routine cop show. But I was wrong. While the series doesn’t rival the best recent looks at Northern Ireland—Anna Burns’ brilliant novel \u003ca href=\"https://www.npr.org/2018/12/04/672956730/brutally-intelligent-milkman-depicts-lives-cramped-by-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Milkman\u003c/em> \u003c/a>and Patrick Radden Keefe’s true crime masterpiece \u003ca href=\"https://www.npr.org/2019/03/04/698552913/say-nothing-murder-memory-and-a-masterful-history-of-the-troubles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Say Nothing\u003c/em>\u003c/a>—it does have something on its mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end, we see that \u003cem>Bloodlands\u003c/em> isn’t merely unfolding a crime story. It’s offering a metaphor for the troubled soul of Northern Ireland two decades after the Troubles supposedly ended. And its characters learn a hard truth we’ve been learning here in America, too: You can bury the past as deep as you want, but when you get home, its ghost is there waiting for you.\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=%27Bloodlands%27+Police+Thriller+Doesn%27t+Trivialize+Northern+Ireland%27s+Troubles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "reel-talk-maya-cuevas-films-on-reproductive-rights-and-immigration",
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"content": "\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Reel Talk: Maya Cueva's Films on Reproductive Rights and Immigration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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