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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\u003c/p>\n\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/c4LtoWQaLxk'\n title='//www.youtube.com/embed/c4LtoWQaLxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
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"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\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/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\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/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Superman & Lois,' The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood",
"headTitle": "In ‘Superman & Lois,’ The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood | KQED",
"content": "\u003cp>For comic book fans like me, Superman is the ultimate superhero—able to leap tall buildings in a single bound and stop a nuclear reactor from exploding by dumping a huge, melting block of ice on top of it.\u003c/p>\n\u003cp>But on The CW’s new series \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em>, our hero’s alter ego Clark Kent is no match for his mopey teenage son, Jordan, struggling with social anxiety disorder and angry that his dad always seems to be elsewhere, chasing a story for \u003cem data-stringify-type=\"italic\">The Daily Planet\u003c/em>. [aside postid='pop_4778']\u003c/p>\n\u003cp>In one exchange, Jordan is playing a video game as a character who is beating up Superman—talk about repressed, unconscious rage—when Clark tries to apologize for missing yet another therapy appointment.\u003c/p>\n\u003cp>“High school starts tomorrow,” Clark says, trying to commiserate. “I know freshman year was pretty tough for me. Did I ever tell you about the time I was the team manager of the football …?”\u003c/p>\n\u003cp>“Yeah, everyone duct taped you to a tractor,” Jordan sniffs. “Life’s a little different in Smallville than it is in Metropolis.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ouch. Felled by Rude Teenager Syndrome.\u003c/p>\n\u003cp>This update of the Superman legend features characters from The CW’s superhero universe of shows spun off from \u003cem data-stringify-type=\"italic\">Arrow—\u003c/em>like \u003cem data-stringify-type=\"italic\">The Flash\u003c/em> and \u003cem data-stringify-type=\"italic\">Supergirl\u003c/em>—called the “Arrowverse” in fanspeak. Here, Clark is married to Lois Lane and has twin teenage sons, named Jordan and Jonathan.\u003c/p>\n\u003cp>But the kids don’t know their dad is the world’s most powerful superhero. And even though Lois thinks fessing up may help Jordan with his anxiety issues, Clark doesn’t want to tell them—a position echoed by Lois’ dad, hard-charging Army general Sam Lane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7xKLq97H-5A\u003c/p>\n\u003cp>To some Superman fans, this may sound like a trap worthy of Lex Luthor; the most legendary superhero in comics stuck with an overbearing father-in-law and a son who embodies every bratty teenager trope on television.\u003c/p>\n\u003cp>But \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> actually weaves a compelling story from the efforts of the character to balance his responsibility to the world with the time and attention he owes his family.\u003c/p>\n\u003cp>Many years ago, I read a quote from a science fiction writer who said that watching a superhuman man confront a problem is boring; he’s going to win. But watching a regular man confront a superhuman problem is where great drama lies.\u003c/p>\n\u003cp>\u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> has it both ways—contrasting Superman’s struggle to beat a surprisingly powerful mystery villain with Clark Kent’s effort to connect with his family and handle a series of surprising losses.\u003c/p>\n\u003cp>After one such challenge—I won’t spoil exactly what—Superman prepares to fly off, once again, to catch the guy who is sabotaging nuclear power plants. Lois puts her foot down and tells him to stay for his family, only to get a lecture from Sam Lane.\u003c/p>\n\u003cp>“When you wanted to get married … I tried warning you,” says Lane, played with appropriate gruffness by \u003cem data-stringify-type=\"italic\">Nip/Tuck\u003c/em> alum Dylan Walsh. “You may have fallen in love with Clark Kent, but you married Superman. And Superman doesn’t get to have a normal life, no matter how much you want one for him.”\u003c/p>\n\u003cp>Okay, it sounds a little soap opera-ish. But The CW and executive producer Greg Berlanti have excelled in bringing characters from the DC Comics universe to TV by playing up their humanity through family drama and focusing a little less on how well they punch out bad guys.\u003c/p>\n\u003cp>That doesn’t mean they don’t make Superman look supercool in this series. In the show’s two-hour pilot, producers do an amazing job of depicting Superman’s powers, with special effects worthy of any big budget movie. [aside postid='pop_101544']\u003c/p>\n\u003cp>The show snatches bits of inspiration from several iterations of the character, from Zack Snyder’s \u003cem data-stringify-type=\"italic\">Man of Steel\u003c/em> to Bryan Singer’s \u003cem data-stringify-type=\"italic\">Superman Returns\u003c/em> and, of course, Christopher Reeve’s classic performance in Richard Donner’s 1978 film, \u003cem data-stringify-type=\"italic\">Superman\u003c/em>.\u003c/p>\n\u003cp>Tyler Hoechlin is particularly impressive as Clark/Superman, nailing the physicality of the Man of Steel while showing a geeky, good-humored appeal as Clark Kent. But the show’s writers will have to be careful about making sure Elizabeth Tulloch’s Lois Lane is more than the smart alecky wife who keeps spoiling Superman’s fun when he wants to go take on the bad guy.\u003c/p>\n\u003cp>Hoechlin and Tulloch have an easy chemistry honed by years of playing these characters on The CW’s other superhero shows; a little reminiscent of Dean Cain and Teri Hatcher on the mid-1990s series \u003cem data-stringify-type=\"italic\">Lois and Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>It’s tough to detail more about the plot without revealing key spoilers. But enough characters show up from the Superman universe that I’m eager to see the next episode—where learning to get along with his kids may be even more challenging for our hero than outracing a speeding bullet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Superman+%26+Lois%2C%27+The+Man+Of+Steel+Faces+His+Biggest+Challenge+Yet%3A+Fatherhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one exchange, Jordan is playing a video game as a character who is beating up Superman—talk about repressed, unconscious rage—when Clark tries to apologize for missing yet another therapy appointment.\u003c/p>\n\u003cp>“High school starts tomorrow,” Clark says, trying to commiserate. “I know freshman year was pretty tough for me. Did I ever tell you about the time I was the team manager of the football …?”\u003c/p>\n\u003cp>“Yeah, everyone duct taped you to a tractor,” Jordan sniffs. “Life’s a little different in Smallville than it is in Metropolis.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ouch. Felled by Rude Teenager Syndrome.\u003c/p>\n\u003cp>This update of the Superman legend features characters from The CW’s superhero universe of shows spun off from \u003cem data-stringify-type=\"italic\">Arrow—\u003c/em>like \u003cem data-stringify-type=\"italic\">The Flash\u003c/em> and \u003cem data-stringify-type=\"italic\">Supergirl\u003c/em>—called the “Arrowverse” in fanspeak. Here, Clark is married to Lois Lane and has twin teenage sons, named Jordan and Jonathan.\u003c/p>\n\u003cp>But the kids don’t know their dad is the world’s most powerful superhero. And even though Lois thinks fessing up may help Jordan with his anxiety issues, Clark doesn’t want to tell them—a position echoed by Lois’ dad, hard-charging Army general Sam Lane.\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/7xKLq97H-5A'\n title='//www.youtube.com/embed/7xKLq97H-5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To some Superman fans, this may sound like a trap worthy of Lex Luthor; the most legendary superhero in comics stuck with an overbearing father-in-law and a son who embodies every bratty teenager trope on television.\u003c/p>\n\u003cp>But \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> actually weaves a compelling story from the efforts of the character to balance his responsibility to the world with the time and attention he owes his family.\u003c/p>\n\u003cp>Many years ago, I read a quote from a science fiction writer who said that watching a superhuman man confront a problem is boring; he’s going to win. But watching a regular man confront a superhuman problem is where great drama lies.\u003c/p>\n\u003cp>\u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> has it both ways—contrasting Superman’s struggle to beat a surprisingly powerful mystery villain with Clark Kent’s effort to connect with his family and handle a series of surprising losses.\u003c/p>\n\u003cp>After one such challenge—I won’t spoil exactly what—Superman prepares to fly off, once again, to catch the guy who is sabotaging nuclear power plants. Lois puts her foot down and tells him to stay for his family, only to get a lecture from Sam Lane.\u003c/p>\n\u003cp>“When you wanted to get married … I tried warning you,” says Lane, played with appropriate gruffness by \u003cem data-stringify-type=\"italic\">Nip/Tuck\u003c/em> alum Dylan Walsh. “You may have fallen in love with Clark Kent, but you married Superman. And Superman doesn’t get to have a normal life, no matter how much you want one for him.”\u003c/p>\n\u003cp>Okay, it sounds a little soap opera-ish. But The CW and executive producer Greg Berlanti have excelled in bringing characters from the DC Comics universe to TV by playing up their humanity through family drama and focusing a little less on how well they punch out bad guys.\u003c/p>\n\u003cp>That doesn’t mean they don’t make Superman look supercool in this series. In the show’s two-hour pilot, producers do an amazing job of depicting Superman’s powers, with special effects worthy of any big budget movie. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show snatches bits of inspiration from several iterations of the character, from Zack Snyder’s \u003cem data-stringify-type=\"italic\">Man of Steel\u003c/em> to Bryan Singer’s \u003cem data-stringify-type=\"italic\">Superman Returns\u003c/em> and, of course, Christopher Reeve’s classic performance in Richard Donner’s 1978 film, \u003cem data-stringify-type=\"italic\">Superman\u003c/em>.\u003c/p>\n\u003cp>Tyler Hoechlin is particularly impressive as Clark/Superman, nailing the physicality of the Man of Steel while showing a geeky, good-humored appeal as Clark Kent. But the show’s writers will have to be careful about making sure Elizabeth Tulloch’s Lois Lane is more than the smart alecky wife who keeps spoiling Superman’s fun when he wants to go take on the bad guy.\u003c/p>\n\u003cp>Hoechlin and Tulloch have an easy chemistry honed by years of playing these characters on The CW’s other superhero shows; a little reminiscent of Dean Cain and Teri Hatcher on the mid-1990s series \u003cem data-stringify-type=\"italic\">Lois and Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>It’s tough to detail more about the plot without revealing key spoilers. But enough characters show up from the Superman universe that I’m eager to see the next episode—where learning to get along with his kids may be even more challenging for our hero than outracing a speeding bullet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Superman+%26+Lois%2C%27+The+Man+Of+Steel+Faces+His+Biggest+Challenge+Yet%3A+Fatherhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In a Season Highlighting Diversity, 'The Bachelor' Lands in Controversy Around Race",
"headTitle": "In a Season Highlighting Diversity, ‘The Bachelor’ Lands in Controversy Around Race | KQED",
"content": "\u003cp>Controversy has once again come to \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>For almost 20 years, the franchise’s producers have churned out love stories at a nearly break-neck pace on the show and its spinoffs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise\u003c/em>. The franchise’s record on diversity, however, has been notably slow. In 2012, two Black men who had auditioned for the show \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">filed an unsuccessful class-action lawsuit\u003c/a> against it for racial discrimination. It took 15 years for the franchise to announce a Black lead, Bachelorette Rachel Lindsay in 2017.\u003c/p>\n\u003cp>Fans and contestants alike hoped that the casting of Matt James last year as the first black man to star in \u003cem>The Bachelor \u003c/em>would represent a shift for the show. However, despite starting this season with the most diverse cast in the franchise’s history, the show is again facing criticism around race. [aside postid='pop_27797']\u003c/p>\n\u003cp>Earlier this month, photos emerged of contestant Rachael Kirkconnell wearing an antebellum-style plantation dress at an “Old-South” party in 2018. Other photos allegedly show her wearing Native American clothing as a costume.\u003c/p>\n\u003cp>Kirckconnell issued \u003ca href=\"https://www.instagram.com/p/CLK5YDHHDQT/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a>, saying “my ignorance was racist,” but the controversy was further exacerbated when host Chris Harrison sat down with Lindsay for an interview with \u003cem>Extra\u003c/em>. During the interview, Harrison condemned the “woke police” and defended Kirkconnell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These girls got dressed up and went to a party and had a great time; they were 18 years old. Now, does that make it okay? I don’t know, Rachael, you tell me,” Harrison said. His remarks were met with condemnation from many former contestants. He has since apologized and \u003ca href=\"https://www.instagram.com/p/CLPmjrFgEv8/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that he will temporarily be stepping away from the show.\u003c/p>\n\u003cp>To Brandy Monk-Payton, a media and Black cultural studies scholar at Fordham University, the show’s most recent controversy is anything but surprising.\u003c/p>\n\u003cp>“The franchise has been critiqued at the level of diversity, equity and inclusion for at least a decade,” she tells Michel Martin in \u003ca href=\"https://www.npr.org/2021/02/20/969800203/racism-controversy-rocks-bachelor-nation\" target=\"_blank\" rel=\"noopener noreferrer\">an interview on \u003cem>All Things Considered\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>According to Monk-Payton—who previously wrote about Lindsay’s role as the first Black \u003cem>Bachelorette—\u003c/em>the franchise’s problem with diversity is tied to a reluctance to make substantial production changes.\u003c/p>\n\u003cp>“I think that the franchise in general courts diversity. It goes to great lengths to promote itself as being more inclusive and equitable. They hire consultants, for example, but it does not fundamentally commit to a kind of long standing change in front of and behind the camera,” she says.\u003c/p>\n\u003cp>When asked about diversity on \u003cem>The Bachelor \u003c/em>in 2011, series creator Mike Fleiss\u003ca href=\"https://ew.com/article/2011/03/15/the-bachelor-creator-ashley-h/\" target=\"_blank\" rel=\"noopener noreferrer\"> said \u003c/a>in an interview with \u003cem>Entertainment Weekly \u003c/em>that people of color simply didn’t audition for the show.\u003c/p>\n\u003cp>“We really tried, but sometimes we feel guilty of tokenism. Oh, we have to wedge African-American chicks in there! We always want to cast for ethnic diversity, it’s just that for whatever reason, they don’t come forward. I wish they would,” Fleiss said.\u003c/p>\n\u003cp>Monk-Payton argues that the franchise’s penchant for drama helps lay the groundwork for continuous controversy. [aside postid='pop_104953']\u003c/p>\n\u003cp>“I also think that there is a little bit of a sense that there will be controversial characters and these cast members will express themselves or have behavior that will be on camera. And you can get a money shot. Like you can get, you know, a sort of dramatic scene. You can get a reveal or an exposure that is highly lucrative for the entire franchise in terms of audience attention,” she says.\u003c/p>\n\u003cp>On the question of whether the show exploits stereotypes, Monk-Payton believes that \u003cem>The\u003c/em> \u003cem>Bachelor\u003c/em>‘s traditional goal of engagement inhibits its ability to challenge negative attitudes or views.\u003c/p>\n\u003cp>“I want to put it into the context of it being a reality show. It attempts to have claims on certain forms of authenticity and truth that other fictional shows don’t. And so I think that it has tried to critique various stereotypical ideas around Black womanhood, femininity and masculinity. But there’s a way in which when it’s placed in this very conventional, traditional, hetero-normative idea of marriage, that it becomes incredibly hard to get out of those frameworks that are really constricting.” she says.\u003c/p>\n\u003cp>Monk-Payton, like many fans of color, has watched the show for years, despite the fact that she doesn’t see herself represented in its content. But she knows why she’ll continue to tune in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, as a Black woman who considers herself to be part of \u003cem>The Bachelor\u003c/em> Nation fandom, I’ve actually always had an ambivalent relationship to the franchise and its overwhelming whiteness. It is historically never spoken to me in terms of its representation of romance. And not only that, but also who gets to be an object of desire. And there is still something, however contrived, about the kind of fantasy of being romanced in a spectacular way that allures and also endures.”\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=In+A+Season+Highlighting+Diversity%2C+%27The+Bachelor%27+Lands+In+Controversy+Around+Race&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Controversy has once again come to \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>For almost 20 years, the franchise’s producers have churned out love stories at a nearly break-neck pace on the show and its spinoffs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise\u003c/em>. The franchise’s record on diversity, however, has been notably slow. In 2012, two Black men who had auditioned for the show \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">filed an unsuccessful class-action lawsuit\u003c/a> against it for racial discrimination. It took 15 years for the franchise to announce a Black lead, Bachelorette Rachel Lindsay in 2017.\u003c/p>\n\u003cp>Fans and contestants alike hoped that the casting of Matt James last year as the first black man to star in \u003cem>The Bachelor \u003c/em>would represent a shift for the show. However, despite starting this season with the most diverse cast in the franchise’s history, the show is again facing criticism around race. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, photos emerged of contestant Rachael Kirkconnell wearing an antebellum-style plantation dress at an “Old-South” party in 2018. Other photos allegedly show her wearing Native American clothing as a costume.\u003c/p>\n\u003cp>Kirckconnell issued \u003ca href=\"https://www.instagram.com/p/CLK5YDHHDQT/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a>, saying “my ignorance was racist,” but the controversy was further exacerbated when host Chris Harrison sat down with Lindsay for an interview with \u003cem>Extra\u003c/em>. During the interview, Harrison condemned the “woke police” and defended Kirkconnell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These girls got dressed up and went to a party and had a great time; they were 18 years old. Now, does that make it okay? I don’t know, Rachael, you tell me,” Harrison said. His remarks were met with condemnation from many former contestants. He has since apologized and \u003ca href=\"https://www.instagram.com/p/CLPmjrFgEv8/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that he will temporarily be stepping away from the show.\u003c/p>\n\u003cp>To Brandy Monk-Payton, a media and Black cultural studies scholar at Fordham University, the show’s most recent controversy is anything but surprising.\u003c/p>\n\u003cp>“The franchise has been critiqued at the level of diversity, equity and inclusion for at least a decade,” she tells Michel Martin in \u003ca href=\"https://www.npr.org/2021/02/20/969800203/racism-controversy-rocks-bachelor-nation\" target=\"_blank\" rel=\"noopener noreferrer\">an interview on \u003cem>All Things Considered\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>According to Monk-Payton—who previously wrote about Lindsay’s role as the first Black \u003cem>Bachelorette—\u003c/em>the franchise’s problem with diversity is tied to a reluctance to make substantial production changes.\u003c/p>\n\u003cp>“I think that the franchise in general courts diversity. It goes to great lengths to promote itself as being more inclusive and equitable. They hire consultants, for example, but it does not fundamentally commit to a kind of long standing change in front of and behind the camera,” she says.\u003c/p>\n\u003cp>When asked about diversity on \u003cem>The Bachelor \u003c/em>in 2011, series creator Mike Fleiss\u003ca href=\"https://ew.com/article/2011/03/15/the-bachelor-creator-ashley-h/\" target=\"_blank\" rel=\"noopener noreferrer\"> said \u003c/a>in an interview with \u003cem>Entertainment Weekly \u003c/em>that people of color simply didn’t audition for the show.\u003c/p>\n\u003cp>“We really tried, but sometimes we feel guilty of tokenism. Oh, we have to wedge African-American chicks in there! We always want to cast for ethnic diversity, it’s just that for whatever reason, they don’t come forward. I wish they would,” Fleiss said.\u003c/p>\n\u003cp>Monk-Payton argues that the franchise’s penchant for drama helps lay the groundwork for continuous controversy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I also think that there is a little bit of a sense that there will be controversial characters and these cast members will express themselves or have behavior that will be on camera. And you can get a money shot. Like you can get, you know, a sort of dramatic scene. You can get a reveal or an exposure that is highly lucrative for the entire franchise in terms of audience attention,” she says.\u003c/p>\n\u003cp>On the question of whether the show exploits stereotypes, Monk-Payton believes that \u003cem>The\u003c/em> \u003cem>Bachelor\u003c/em>‘s traditional goal of engagement inhibits its ability to challenge negative attitudes or views.\u003c/p>\n\u003cp>“I want to put it into the context of it being a reality show. It attempts to have claims on certain forms of authenticity and truth that other fictional shows don’t. And so I think that it has tried to critique various stereotypical ideas around Black womanhood, femininity and masculinity. But there’s a way in which when it’s placed in this very conventional, traditional, hetero-normative idea of marriage, that it becomes incredibly hard to get out of those frameworks that are really constricting.” she says.\u003c/p>\n\u003cp>Monk-Payton, like many fans of color, has watched the show for years, despite the fact that she doesn’t see herself represented in its content. But she knows why she’ll continue to tune in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, as a Black woman who considers herself to be part of \u003cem>The Bachelor\u003c/em> Nation fandom, I’ve actually always had an ambivalent relationship to the franchise and its overwhelming whiteness. It is historically never spoken to me in terms of its representation of romance. And not only that, but also who gets to be an object of desire. And there is still something, however contrived, about the kind of fantasy of being romanced in a spectacular way that allures and also endures.”\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=In+A+Season+Highlighting+Diversity%2C+%27The+Bachelor%27+Lands+In+Controversy+Around+Race&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Allen v. Farrow' is the Most Damning Indictment of Woody Allen Yet",
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"content": "\u003cp>There are many astonishing things about HBO’s new four-part documentary series, \u003ca href=\"https://www.hbo.com/documentaries/allen-v-farrow\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. The first is just how many people in it—family, friends, neighbors, babysitters, ex-lovers—freely testify to Woody Allen’s unhealthy interest in young girls, including his own adopted daughter, Dylan. The second is how those revelations hit you as a bystander. As the four episodes unfurl, you feel shock, disbelief, disgust, and a deep, unerring sense that this will be—this \u003cem>has\u003c/em> to be—the end of Woody Allen.\u003c/p>\n\u003cp>The truth of the matter is that much of the information laid out in \u003cem>Allen v. Farrow\u003c/em> has been readily available for nearly 30 years. Originally published in a \u003cem>Vanity Fai\u003c/em>r article titled “\u003ca href=\"https://archive.vanityfair.com/article/share/cc1a6aed-1d33-45fd-99c6-731825a7f4d4?gclid=CjwKCAiAmrOBBhA0EiwArn3mfMFgBE64LDvo9n859q4Rk3kdkXTQyi6-JprDGx3xHUcofjL3iqdh3xoC-y4QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Mia’s Story\u003c/a>” back in November 1992, the many (\u003cem>many\u003c/em>) testimonies against Allen have been out there, hiding in plain sight, ever since. That they have gone so widely unheeded, ignored and swept under the rug all this time has been hurting the Farrow family—especially \u003ca href=\"https://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dylan\u003c/a>—ever since. And its bearing witness to that pain ultimately gives \u003cem>Allen v. Farrow\u003c/em> its power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKTOj7HnLbo\u003c/p>\n\u003cp>The series does an excellent job at deftly cutting through the defenses Allen has relied on, and hidden behind, since 1992. His narrative has long been that Farrow made up child sex-abuse allegations to get revenge on Allen after he left her for Soon-Yi Previn—one of her other adopted children. Allen’s defenders have argued repeatedly that 7-year-old Dylan had been coached by Farrow to tell lies about him.\u003c/p>\n\u003cp>That version of events is undercut in \u003cem>Allen v. Farrow\u003c/em> by corroborated statements that describe in detail Woody Allen’s smothering and obsessive behavior toward Dylan from the time she was a toddler. Mia Farrow talks of his “incredible amount of focus on her” from the time she was born. As Dylan got older, multiple witnesses report, Allen’s behavior towards her became more and more inappropriate. One even says she saw him molest Dylan at an outing to the beach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is also said that Allen often isolated Dylan from her siblings. “He followed Dylan wherever she went,” says Priscilla Gilman, a family friend who spent a lot of time with the kids when they were growing up. “We’d be playing … and I’d look up and he’d be just standing there watching. Silently.”\u003c/p>\n\u003cp>We also hear of interventions from mental health professionals, including Dr. Ethel Person, who contacted Farrow after seeing Allen interacting with Dylan in a manner she found concerning. Allen began therapy in the late ’80s to deal with his “inappropriately intense” behavior with Dylan, but the consensus at the time was that he simply had not been around enough children to express his affection appropriately. His promises to work on it eased Farrow’s concerns, even though Dylan was in therapy by the age of 5 because of how withdrawn she had become, particularly around her father. [aside postid='pop_98603']\u003c/p>\n\u003cp>One gets a visceral sense here of how suddenly regular family life imploded once and for all when Farrow describes finding graphic naked photos of Soon-Yi at Allen’s apartment. (The couple had always kept separate residences.) The children, without exception, withdrew from Allen and supported their mother. It was at this time that Dylan said she realized, “It’s not just me,” and spoke up about Allen sexually abusing her.\u003c/p>\n\u003cp>That assertion is compounded here by the revelation that Soon-Yi was visiting Allen’s apartment long before their relationship was made public. The documentary reports: “Allen’s housekeeper testified she found what she believed to be semen stains on the sheets and condom wrappers in the wastebasket after Soon-Yi’s visits, while Soon-Yi was still in high school.”\u003c/p>\n\u003cp>The series also does a meticulous job presenting Woody Allen’s art as speaking for itself. In the second episode, one \u003cem>Washington Post \u003c/em>journalist, Richard Morgan, discusses the content of Princeton University’s Woody Allen Archives. Morgan, having studied the scripts, notes and short stories from Allen’s collection, shares his concerns about the content.\u003c/p>\n\u003cp>“The thing that kept on showing up was this focus he had on very young women,” Morgan says. “It’s basically always an older guy trying to deal with this younger woman … It was almost assembly-line, every single time: 18-year-old, 18-year-old, 18-year-old. Cocktail waitress, cocktail waitress, stewardess, cocktail waitress, college student … The repetitiveness of the attention sort of got into this obsessive territory.”\u003c/p>\n\u003cp>A montage of clips from Allen’s films are played—including \u003cem>Crimes and Misdemeanors\u003c/em>, \u003cem>Whatever Works\u003c/em>, \u003cem>Mighty Aphrodite\u003c/em>, \u003cem>Husbands and Wives\u003c/em>, \u003cem>Broadway Danny Rose\u003c/em>, \u003cem>September\u003c/em>, \u003cem>A Midsummer Night’s Sex Comedy\u003c/em>, \u003cem>Another Woman\u003c/em> and \u003cem>Manhattan\u003c/em>—to illustrate the point. All feature relationships between older men and much younger woman. “In a sense, he’s grooming us,” offers Alissa Wilkinson, a journalist at \u003cem>Vox\u003c/em>. “When you see it over and over, it kind of attunes you to thinking ‘This is normal, this is just a thing that people do. It’s fine, and there’s nothing I should feel odd about.'”\u003c/p>\n\u003cp>Then comes the revelation that, in 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079522/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Manhattan\u003c/em>\u003c/a>, the relationship between 46-year-old Isaac and 17-year-old Mary was based on a “secret relationship” Allen had in real life with a teenager named Christina Englehardt. Englehardt says her relationship with Allen, which began when she was 17, was born out of a desire to feel safe after being raped four times in her earlier teens. “I know it’s taken a toll on me,” she says of her relationship with Allen. “It’s taken a toll on how I’ve been in relationships—trust in relationships. And it’s made me a super vigilant mother.” [aside postid='arts_13876101']\u003c/p>\n\u003cp>Though Allen doesn’t participate in \u003cem>Allen v. Farrow\u003c/em> directly, his voice and perspective is heard throughout, via passages from the audiobook version of his 2020 autobiography, \u003cem>Apropos of Nothing\u003c/em>. Arguments between he and Farrow are also here in the form of taped—and often chilling—telephone conversations after the Soon-Yi scandal became public.\u003c/p>\n\u003cp>In the end,\u003cem> Allen v. Farrow\u003c/em> leaves no stone unturned in its presentation of what happened to this family during the ’80s and ’90s. And though there is much here that is already in the public domain, seeing it condensed and explored in such depth, alongside family photos and home videos, is a shocking and heart-wrenching experience. Anyone who watches these four episodes won’t be left with any questions about Allen’s behavior—only how he got away with it for so long.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Allen v. Farrow’ premieres Sunday, Feb. 21, on HBO.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are many astonishing things about HBO’s new four-part documentary series, \u003ca href=\"https://www.hbo.com/documentaries/allen-v-farrow\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. The first is just how many people in it—family, friends, neighbors, babysitters, ex-lovers—freely testify to Woody Allen’s unhealthy interest in young girls, including his own adopted daughter, Dylan. The second is how those revelations hit you as a bystander. As the four episodes unfurl, you feel shock, disbelief, disgust, and a deep, unerring sense that this will be—this \u003cem>has\u003c/em> to be—the end of Woody Allen.\u003c/p>\n\u003cp>The truth of the matter is that much of the information laid out in \u003cem>Allen v. Farrow\u003c/em> has been readily available for nearly 30 years. Originally published in a \u003cem>Vanity Fai\u003c/em>r article titled “\u003ca href=\"https://archive.vanityfair.com/article/share/cc1a6aed-1d33-45fd-99c6-731825a7f4d4?gclid=CjwKCAiAmrOBBhA0EiwArn3mfMFgBE64LDvo9n859q4Rk3kdkXTQyi6-JprDGx3xHUcofjL3iqdh3xoC-y4QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Mia’s Story\u003c/a>” back in November 1992, the many (\u003cem>many\u003c/em>) testimonies against Allen have been out there, hiding in plain sight, ever since. That they have gone so widely unheeded, ignored and swept under the rug all this time has been hurting the Farrow family—especially \u003ca href=\"https://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dylan\u003c/a>—ever since. And its bearing witness to that pain ultimately gives \u003cem>Allen v. Farrow\u003c/em> its power.\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/cKTOj7HnLbo'\n title='//www.youtube.com/embed/cKTOj7HnLbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series does an excellent job at deftly cutting through the defenses Allen has relied on, and hidden behind, since 1992. His narrative has long been that Farrow made up child sex-abuse allegations to get revenge on Allen after he left her for Soon-Yi Previn—one of her other adopted children. Allen’s defenders have argued repeatedly that 7-year-old Dylan had been coached by Farrow to tell lies about him.\u003c/p>\n\u003cp>That version of events is undercut in \u003cem>Allen v. Farrow\u003c/em> by corroborated statements that describe in detail Woody Allen’s smothering and obsessive behavior toward Dylan from the time she was a toddler. Mia Farrow talks of his “incredible amount of focus on her” from the time she was born. As Dylan got older, multiple witnesses report, Allen’s behavior towards her became more and more inappropriate. One even says she saw him molest Dylan at an outing to the beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is also said that Allen often isolated Dylan from her siblings. “He followed Dylan wherever she went,” says Priscilla Gilman, a family friend who spent a lot of time with the kids when they were growing up. “We’d be playing … and I’d look up and he’d be just standing there watching. Silently.”\u003c/p>\n\u003cp>We also hear of interventions from mental health professionals, including Dr. Ethel Person, who contacted Farrow after seeing Allen interacting with Dylan in a manner she found concerning. Allen began therapy in the late ’80s to deal with his “inappropriately intense” behavior with Dylan, but the consensus at the time was that he simply had not been around enough children to express his affection appropriately. His promises to work on it eased Farrow’s concerns, even though Dylan was in therapy by the age of 5 because of how withdrawn she had become, particularly around her father. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One gets a visceral sense here of how suddenly regular family life imploded once and for all when Farrow describes finding graphic naked photos of Soon-Yi at Allen’s apartment. (The couple had always kept separate residences.) The children, without exception, withdrew from Allen and supported their mother. It was at this time that Dylan said she realized, “It’s not just me,” and spoke up about Allen sexually abusing her.\u003c/p>\n\u003cp>That assertion is compounded here by the revelation that Soon-Yi was visiting Allen’s apartment long before their relationship was made public. The documentary reports: “Allen’s housekeeper testified she found what she believed to be semen stains on the sheets and condom wrappers in the wastebasket after Soon-Yi’s visits, while Soon-Yi was still in high school.”\u003c/p>\n\u003cp>The series also does a meticulous job presenting Woody Allen’s art as speaking for itself. In the second episode, one \u003cem>Washington Post \u003c/em>journalist, Richard Morgan, discusses the content of Princeton University’s Woody Allen Archives. Morgan, having studied the scripts, notes and short stories from Allen’s collection, shares his concerns about the content.\u003c/p>\n\u003cp>“The thing that kept on showing up was this focus he had on very young women,” Morgan says. “It’s basically always an older guy trying to deal with this younger woman … It was almost assembly-line, every single time: 18-year-old, 18-year-old, 18-year-old. Cocktail waitress, cocktail waitress, stewardess, cocktail waitress, college student … The repetitiveness of the attention sort of got into this obsessive territory.”\u003c/p>\n\u003cp>A montage of clips from Allen’s films are played—including \u003cem>Crimes and Misdemeanors\u003c/em>, \u003cem>Whatever Works\u003c/em>, \u003cem>Mighty Aphrodite\u003c/em>, \u003cem>Husbands and Wives\u003c/em>, \u003cem>Broadway Danny Rose\u003c/em>, \u003cem>September\u003c/em>, \u003cem>A Midsummer Night’s Sex Comedy\u003c/em>, \u003cem>Another Woman\u003c/em> and \u003cem>Manhattan\u003c/em>—to illustrate the point. All feature relationships between older men and much younger woman. “In a sense, he’s grooming us,” offers Alissa Wilkinson, a journalist at \u003cem>Vox\u003c/em>. “When you see it over and over, it kind of attunes you to thinking ‘This is normal, this is just a thing that people do. It’s fine, and there’s nothing I should feel odd about.'”\u003c/p>\n\u003cp>Then comes the revelation that, in 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079522/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Manhattan\u003c/em>\u003c/a>, the relationship between 46-year-old Isaac and 17-year-old Mary was based on a “secret relationship” Allen had in real life with a teenager named Christina Englehardt. Englehardt says her relationship with Allen, which began when she was 17, was born out of a desire to feel safe after being raped four times in her earlier teens. “I know it’s taken a toll on me,” she says of her relationship with Allen. “It’s taken a toll on how I’ve been in relationships—trust in relationships. And it’s made me a super vigilant mother.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Allen doesn’t participate in \u003cem>Allen v. Farrow\u003c/em> directly, his voice and perspective is heard throughout, via passages from the audiobook version of his 2020 autobiography, \u003cem>Apropos of Nothing\u003c/em>. Arguments between he and Farrow are also here in the form of taped—and often chilling—telephone conversations after the Soon-Yi scandal became public.\u003c/p>\n\u003cp>In the end,\u003cem> Allen v. Farrow\u003c/em> leaves no stone unturned in its presentation of what happened to this family during the ’80s and ’90s. And though there is much here that is already in the public domain, seeing it condensed and explored in such depth, alongside family photos and home videos, is a shocking and heart-wrenching experience. Anyone who watches these four episodes won’t be left with any questions about Allen’s behavior—only how he got away with it for so long.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Allen v. Farrow’ premieres Sunday, Feb. 21, on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19",
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"content": "\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnR5DxP2e2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. [aside postid='arts_13881934']\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\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=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\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=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. [aside postid='pop_83529']\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Lack of Diversity Mars Golden Globe TV Nominations | KQED",
"content": "\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Beyond her own achievements, Coel’s work was the best example of how the high-quality TV space saw some much-needed ethnic diversity last year, especially among female performers. Jurnee Smollett, Aunjanue Ellis and Wunmi Mosaku on HBO’s\u003cem> Lovecraft Country\u003c/em>. Adjoa Andoh, who played the smart, sharp-tongued Lady Danbury on Netflix’s hit drama, \u003cem>Bridgerton\u003c/em>. Emmy winner Zendaya, in the Christmas episode of HBO’s \u003cem>Euphoria\u003c/em>. Uzo Aduba as Shirley Chisholm on FX’s miniseries \u003cem>Mrs. America.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. [aside postid='arts_13884214']\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\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=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\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=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Lady and the Dale\u003c/em>, a new HBO documentary miniseries co-directed by Nick Cammilleri and Zackary Drucker, has been promoted by the network with most of its secrets held in check. Tune in to this nonfiction biography series, the promos suggest, and learn the tale of a female automobile executive who took on the Detroit automakers and tried to market a gas-efficient car in the 1970s, at the height of the oil crisis.\u003c/p>\n\u003cp>But \u003cem>The Lady and the Dale\u003c/em> is so much more than that. Yes, the second installment of this four-part series is mostly about the weird three-wheeled car called the Dale. But the first hour of this miniseries is mostly about a small-time but enterprising con artist. The third hour is about a trial for grand larceny, with the defendant doing double duty as her own defense attorney. And the fourth hour is so full of surprises and revelations that I’m not even going to go there.\u003c/p>\n\u003cp>The promos held their cards close to the vest, but the opening minutes of \u003cem>The Lady and the Dale\u003c/em> hint at some of the intrigue to come. It starts with a vintage 1970s clip from \u003cem>The Price Is Right,\u003c/em> where one of the prizes being offered is a brand new Dale automobile, and works quickly through some other period TV footage that adds many layers of mystery to the story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOZWutV0jwU\u003c/p>\n\u003cp>And what a story it tells! It begins as the story of Jerry Dean Michael, who grew up in small-town Indiana and eventually became a con artist, working every scheme from counterfeiting money and checks to selling bogus get-rich-quick schemes door-to-door. Jerry married and had five kids, but kept grifting—and every time the law got close, he’d pick up the family and move. Over one stretch, according to the documentary, the family moved 21 times in three years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Up to this point, \u003cem>The Lady and the Dale \u003c/em>has the flavor and momentum of \u003cem>Catch Me if You Can, \u003c/em>that Steven Spielberg movie with \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks\u003c/a> on the trail of a teenage con man played by Leonardo DiCaprio. But before the first episode is over, Jerry comes out as a trans woman and changes her name to Elizabeth Carmichael. The kids are raised to call Liz mom and the series goes on from there, with Liz starting the 20th Century Motor Company and introducing the Dale. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Eventually, Liz is arrested for fraud, and goes on trial to defend the lack of production of the Dale. But in the ’70s, with transgender issues so relatively unfamiliar and widely misunderstood, she goes on trial in other ways, too—especially in the media.\u003c/p>\n\u003cp>Thanks to lots of old clips and some shockingly candid interviews, this close look at the media treatment of her is one of the most valuable aspects of \u003cem>The Lady and the Dale. \u003c/em>The narrative manages to name-drop such pioneering transgender public figures as Christine Jorgensen and Renée Richards—but they’re far more than footnotes and become part of this story. By part four, when the NBC series \u003cem>Unsolved Mysteries\u003c/em> gets into the act, you not only feel for Liz, but get a strong sense of unfair media bias in some very palpable specific examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One more thing about \u003cem>The Lady and the Dale. \u003c/em>It uses animation more—and more imaginatively—than almost any documentary I’ve ever seen. When the filmmakers have family members and friends and enemies all talking about Liz, but don’t have footage other than those talking heads, stiff but lively animation is used. And while the \u003ca href=\"https://www.npr.org/2018/05/08/609349238/duplass-brothers-on-working-together-and-growing-apart-we-are-ex-soulmates\" target=\"_blank\" rel=\"noopener noreferrer\">Duplass Brothers\u003c/a>, Mark and Jay, are among this show’s executive producers, special credit should be given to the director of animation, Sean Donnelly. Watch \u003cem>The Lady and the Dale, \u003c/em>and you’ll see why he deserves mention—and why the program itself deserves attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lady+And+The+Dale%2C%27+A+4-Part+Series+About+A+3-Wheeled+Car%2C+Is+A+Wild+Ride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lady and the Dale\u003c/em>, a new HBO documentary miniseries co-directed by Nick Cammilleri and Zackary Drucker, has been promoted by the network with most of its secrets held in check. Tune in to this nonfiction biography series, the promos suggest, and learn the tale of a female automobile executive who took on the Detroit automakers and tried to market a gas-efficient car in the 1970s, at the height of the oil crisis.\u003c/p>\n\u003cp>But \u003cem>The Lady and the Dale\u003c/em> is so much more than that. Yes, the second installment of this four-part series is mostly about the weird three-wheeled car called the Dale. But the first hour of this miniseries is mostly about a small-time but enterprising con artist. The third hour is about a trial for grand larceny, with the defendant doing double duty as her own defense attorney. And the fourth hour is so full of surprises and revelations that I’m not even going to go there.\u003c/p>\n\u003cp>The promos held their cards close to the vest, but the opening minutes of \u003cem>The Lady and the Dale\u003c/em> hint at some of the intrigue to come. It starts with a vintage 1970s clip from \u003cem>The Price Is Right,\u003c/em> where one of the prizes being offered is a brand new Dale automobile, and works quickly through some other period TV footage that adds many layers of mystery to the story.\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/FOZWutV0jwU'\n title='//www.youtube.com/embed/FOZWutV0jwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And what a story it tells! It begins as the story of Jerry Dean Michael, who grew up in small-town Indiana and eventually became a con artist, working every scheme from counterfeiting money and checks to selling bogus get-rich-quick schemes door-to-door. Jerry married and had five kids, but kept grifting—and every time the law got close, he’d pick up the family and move. Over one stretch, according to the documentary, the family moved 21 times in three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, Liz is arrested for fraud, and goes on trial to defend the lack of production of the Dale. But in the ’70s, with transgender issues so relatively unfamiliar and widely misunderstood, she goes on trial in other ways, too—especially in the media.\u003c/p>\n\u003cp>Thanks to lots of old clips and some shockingly candid interviews, this close look at the media treatment of her is one of the most valuable aspects of \u003cem>The Lady and the Dale. \u003c/em>The narrative manages to name-drop such pioneering transgender public figures as Christine Jorgensen and Renée Richards—but they’re far more than footnotes and become part of this story. By part four, when the NBC series \u003cem>Unsolved Mysteries\u003c/em> gets into the act, you not only feel for Liz, but get a strong sense of unfair media bias in some very palpable specific examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One more thing about \u003cem>The Lady and the Dale. \u003c/em>It uses animation more—and more imaginatively—than almost any documentary I’ve ever seen. When the filmmakers have family members and friends and enemies all talking about Liz, but don’t have footage other than those talking heads, stiff but lively animation is used. And while the \u003ca href=\"https://www.npr.org/2018/05/08/609349238/duplass-brothers-on-working-together-and-growing-apart-we-are-ex-soulmates\" target=\"_blank\" rel=\"noopener noreferrer\">Duplass Brothers\u003c/a>, Mark and Jay, are among this show’s executive producers, special credit should be given to the director of animation, Sean Donnelly. Watch \u003cem>The Lady and the Dale, \u003c/em>and you’ll see why he deserves mention—and why the program itself deserves attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lady+And+The+Dale%2C%27+A+4-Part+Series+About+A+3-Wheeled+Car%2C+Is+A+Wild+Ride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Things \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> has in common with previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>1. Main Character: An alien (or aliens).\u003c/p>\n\u003cp>2. Premise: The alien/s in question is/are on Earth, attempting to pass as human.\u003c/p>\n\u003cp>3. Reasons Hijinks Ensue: See 2., above.\u003c/p>\n\u003cp>\u003cstrong>Things That Set \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> far, far apart from previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1. Darker Take On The Main Character: This alien is assigned with destroying the human race.\u003c/p>\n\u003cp>2. Darker Premise: The alien in question has crash-landed near the tiny Colorado town of Patience, where he has secretly murdered and assumed the form of a reclusive doctor. He soon gets dragged into the town’s business, however, when its local physician is found murdered. (Not the doctor whom the alien murdered, you follow? Entirely different doctor.)\u003c/p>\n\u003cp>3. Format: SYFY’s \u003cem>Resident Alien\u003c/em>, based on a Dark Horse Comics series by writer Peter Hogan and artist Steve Parkhouse, is not a classic sitcom, but an hourlong comedy/drama. (This first season is made up of ten episodes, the first seven of which were made available to press.)\u003c/p>\n\u003cp>4. Episodic Narrative Structure: Over the course of the season, the alien attempts to: avoid detection by assuming the role of town doctor; secretly search for his missing ship and its doomsday device (which is lost somewhere under the snow of a glacier near his cabin); deal with a young moppet (Judah Prehn) who can see his true form; ingratiate himself with the locals and, grudgingly; investigate the murder of the previous town doctor. As all this happens, the relationships of those around him deepen, and complicate, because …\u003c/p>\n\u003cp>5. A Robust Ensemble Cast: Writer Chris Sheridan, who adapted the comic, has taken steps to ensure that \u003cem>Resident Alien\u003c/em> will not fall into the familiar alien-on-Earth sitcom trap wherein the supporting cast exists solely to stand passively by, grinning, alternately amused and bemused by the central alien’s antics. Instead, the residents of Patience prove a tight-knit community of women and men whose existing interpersonal histories, relationships and emotional layers gradually reveal themselves. Thus we get scenes between clinic nurse Asta (Sara Tomko) and local bartender D’Arcy (an effortlessly funny Alice Wetterlund) that have little to do with the show’s A-plot, but feel warm and sharp and utterly natural. An abrasive local sheriff (Corey Reynolds) snipes at his long-suffering deputy (Elizabeth Bowen, whose slow-burn exasperation is a weapon the show employs deftly, to great effect). And Levi Fiehler, as the town’s young, idealistic mayor, makes a meal out of nervously questioning, in muttered asides, nearly everything that is said and done to him.\u003c/p>\n\u003cp>But whom are we kidding, here. While all the above aspects help distinguish the show from the many similar series that have gone before, the thing that makes \u003cem>Resident Alien\u003c/em> worth almost ten hours of your hard-earned time is …\u003c/p>\n\u003cp>6. Alan Tudyk: The guy’s IMDB page is less a page and more an entire wing of an IMDB library—from his beloved breakout role as pilot Wash in Joss Whedon’s \u003cem>Firefly/Serenity\u003c/em>, to memorable voice-acting stints on both the big screen (\u003cem>I, Robot, Rogue One: A Star Wars Story\u003c/em>) and the small (\u003cem>Harley Quinn, \u003c/em>and much of \u003cem>Doom Patrol)\u003c/em>, to out-there character choices in beloved cult films like \u003cem>Dodgeball \u003c/em>and \u003cem>Tucker and Dale vs. Evil\u003c/em>, let’s just go ahead and call it: Alan Tudyk is, officially, Good In Everything\u003csup>TM\u003c/sup>.\u003c/p>\n\u003cp>And in \u003cem>Resident Alien\u003c/em>, he’s great.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4J7QjGNTs4\u003c/p>\n\u003cp>Make no mistake: He didn’t need to be. On paper, his role as the alien who has assumed the role of Dr. Harry Vanderspeigle calls for him to do the Vincent-D’Onofrio-in-\u003cem>Men-in-Black\u003c/em> deal: Lumbering around, making big—nay, operatic—choices.\u003c/p>\n\u003cp>But Tudyk is smart enough to know that we’ve seen the alien-in-a-skinsuit thing done before (and not only in \u003cem>Men in Black\u003c/em>; I still maintain it’s the only way D’Onofrio’s performance in \u003cem>Law & Order: Criminal Intent\u003c/em> makes any sense at all). So his choices are smaller, more precise. His expressive face locks itself into a forced, heavy-lidded, faux-human passivity that threatens to break at the slightest stimulus. His human laugh is a more of a strangled dog-bark. And though we are privy to his character’s thoughts (always a comedic red flag), Tudyk’s such a consummate vocal pro that the series manages to use his voiceover to make the jokes land harder, instead of sucking all life from them.\u003c/p>\n\u003cp>Quibbles? Well, the show’s comedy/drama ratio feels a bit off, occasionally. One downside to creating a town full of characters with nuanced, interwoven backstories is the tendency to tell those stories by defaulting to soapy, hand-wringing plotting. One such storyline gives Sara Tomko a chance to show her acting chops, and she’s certainly up for it—but it forces the show’s tone to go a bit too lachrymose to easily recover from.\u003c/p>\n\u003cp>Comparisons to \u003cem>Northern Exposure\u003c/em> have already begun to crop up, and on the surface, they’re fair: A remote, snowy small town filled with quirky characters opens its heart to an arrogant doctor from far away—a doctor who grudgingly treats the locals, and even comes to feel some affection for them, though he’s desperate to escape.\u003c/p>\n\u003cp>Two small but telling differences must be noted, however:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northern Exposure\u003c/em>‘s Joel Fleischmann wasn’t bent on vaporizing humanity, as far as I recall, nor (check me on this, it’s been decades since I’ve seen it) did his large, black, reptilian eyes feature nictitating membranes.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Things \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> has in common with previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>1. Main Character: An alien (or aliens).\u003c/p>\n\u003cp>2. Premise: The alien/s in question is/are on Earth, attempting to pass as human.\u003c/p>\n\u003cp>3. Reasons Hijinks Ensue: See 2., above.\u003c/p>\n\u003cp>\u003cstrong>Things That Set \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> far, far apart from previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1. Darker Take On The Main Character: This alien is assigned with destroying the human race.\u003c/p>\n\u003cp>2. Darker Premise: The alien in question has crash-landed near the tiny Colorado town of Patience, where he has secretly murdered and assumed the form of a reclusive doctor. He soon gets dragged into the town’s business, however, when its local physician is found murdered. (Not the doctor whom the alien murdered, you follow? Entirely different doctor.)\u003c/p>\n\u003cp>3. Format: SYFY’s \u003cem>Resident Alien\u003c/em>, based on a Dark Horse Comics series by writer Peter Hogan and artist Steve Parkhouse, is not a classic sitcom, but an hourlong comedy/drama. (This first season is made up of ten episodes, the first seven of which were made available to press.)\u003c/p>\n\u003cp>4. Episodic Narrative Structure: Over the course of the season, the alien attempts to: avoid detection by assuming the role of town doctor; secretly search for his missing ship and its doomsday device (which is lost somewhere under the snow of a glacier near his cabin); deal with a young moppet (Judah Prehn) who can see his true form; ingratiate himself with the locals and, grudgingly; investigate the murder of the previous town doctor. As all this happens, the relationships of those around him deepen, and complicate, because …\u003c/p>\n\u003cp>5. A Robust Ensemble Cast: Writer Chris Sheridan, who adapted the comic, has taken steps to ensure that \u003cem>Resident Alien\u003c/em> will not fall into the familiar alien-on-Earth sitcom trap wherein the supporting cast exists solely to stand passively by, grinning, alternately amused and bemused by the central alien’s antics. Instead, the residents of Patience prove a tight-knit community of women and men whose existing interpersonal histories, relationships and emotional layers gradually reveal themselves. Thus we get scenes between clinic nurse Asta (Sara Tomko) and local bartender D’Arcy (an effortlessly funny Alice Wetterlund) that have little to do with the show’s A-plot, but feel warm and sharp and utterly natural. An abrasive local sheriff (Corey Reynolds) snipes at his long-suffering deputy (Elizabeth Bowen, whose slow-burn exasperation is a weapon the show employs deftly, to great effect). And Levi Fiehler, as the town’s young, idealistic mayor, makes a meal out of nervously questioning, in muttered asides, nearly everything that is said and done to him.\u003c/p>\n\u003cp>But whom are we kidding, here. While all the above aspects help distinguish the show from the many similar series that have gone before, the thing that makes \u003cem>Resident Alien\u003c/em> worth almost ten hours of your hard-earned time is …\u003c/p>\n\u003cp>6. Alan Tudyk: The guy’s IMDB page is less a page and more an entire wing of an IMDB library—from his beloved breakout role as pilot Wash in Joss Whedon’s \u003cem>Firefly/Serenity\u003c/em>, to memorable voice-acting stints on both the big screen (\u003cem>I, Robot, Rogue One: A Star Wars Story\u003c/em>) and the small (\u003cem>Harley Quinn, \u003c/em>and much of \u003cem>Doom Patrol)\u003c/em>, to out-there character choices in beloved cult films like \u003cem>Dodgeball \u003c/em>and \u003cem>Tucker and Dale vs. Evil\u003c/em>, let’s just go ahead and call it: Alan Tudyk is, officially, Good In Everything\u003csup>TM\u003c/sup>.\u003c/p>\n\u003cp>And in \u003cem>Resident Alien\u003c/em>, he’s great.\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/T4J7QjGNTs4'\n title='//www.youtube.com/embed/T4J7QjGNTs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Make no mistake: He didn’t need to be. On paper, his role as the alien who has assumed the role of Dr. Harry Vanderspeigle calls for him to do the Vincent-D’Onofrio-in-\u003cem>Men-in-Black\u003c/em> deal: Lumbering around, making big—nay, operatic—choices.\u003c/p>\n\u003cp>But Tudyk is smart enough to know that we’ve seen the alien-in-a-skinsuit thing done before (and not only in \u003cem>Men in Black\u003c/em>; I still maintain it’s the only way D’Onofrio’s performance in \u003cem>Law & Order: Criminal Intent\u003c/em> makes any sense at all). So his choices are smaller, more precise. His expressive face locks itself into a forced, heavy-lidded, faux-human passivity that threatens to break at the slightest stimulus. His human laugh is a more of a strangled dog-bark. And though we are privy to his character’s thoughts (always a comedic red flag), Tudyk’s such a consummate vocal pro that the series manages to use his voiceover to make the jokes land harder, instead of sucking all life from them.\u003c/p>\n\u003cp>Quibbles? Well, the show’s comedy/drama ratio feels a bit off, occasionally. One downside to creating a town full of characters with nuanced, interwoven backstories is the tendency to tell those stories by defaulting to soapy, hand-wringing plotting. One such storyline gives Sara Tomko a chance to show her acting chops, and she’s certainly up for it—but it forces the show’s tone to go a bit too lachrymose to easily recover from.\u003c/p>\n\u003cp>Comparisons to \u003cem>Northern Exposure\u003c/em> have already begun to crop up, and on the surface, they’re fair: A remote, snowy small town filled with quirky characters opens its heart to an arrogant doctor from far away—a doctor who grudgingly treats the locals, and even comes to feel some affection for them, though he’s desperate to escape.\u003c/p>\n\u003cp>Two small but telling differences must be noted, however:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northern Exposure\u003c/em>‘s Joel Fleischmann wasn’t bent on vaporizing humanity, as far as I recall, nor (check me on this, it’s been decades since I’ve seen it) did his large, black, reptilian eyes feature nictitating membranes.\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=%27Resident+Alien%27%3A+The+Truth+Is+Way%2C+Way+Out+There+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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