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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>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. \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. 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",
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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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"title": "HBO’s ‘Euphoria’ Specials Offer Rare Depths About the Lives of Teen Girls",
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"content": "\u003cp>When COVID-19 forced HBO’s \u003cem>Euphoria\u003c/em> to press pause on filming Season 2, it could have completely scuppered the show’s momentum. Season 1 ultimately succeeded in conveying the trials of Gen Z adolescence, but it also focused a little too much time and energy on proving how dysfunctional its characters were. In the end, \u003cem>Euphoria\u003c/em> worked because of the strength and commitment of its supremely talented cast, but it also occasionally got bogged down in its own desire to shock. [aside postid='pop_95643']\u003c/p>\n\u003cp>The two special episodes to emerge out of the pandemic—“Rue,” which aired in December, and “Jules,” which started streaming over the weekend—have benefitted from slowing down their focus and allowing the show’s two lead characters to exhale. In taking the time to permit Rue (played by Zendaya) and Jules (Hunter Schafer) to verbalize everything they have going on internally, the show has managed to sharply pinpoint the agony of teenage life in a much more effective way than the first season did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s1P5czi0H_g\u003c/p>\n\u003cp>In Sunday’s hour-long episode, Jules, 17 and trans, is seen in a therapy session. There, she discusses her relationship to men, to Rue—who recently crossed over from best friend to love interest—and to her own body. In Season 1, the agony of teen girlhood was conveyed, by and large, via a variety of characters dealing with physical and emotional exploitations. The girls were subjected to sexual assaults, coercion, pressure to take nude photos, and slut-shaming.\u003c/p>\n\u003cp>All of those things pose real threats to the lives of teenage girls, of course. But it was in Sunday’s episode that I was most viscerally reminded of the weight and near-constant discomfort inherent in being a teenage girl. Jules, in describing to her therapist why Rue felt so much like home, made a speech that took me right back to high school in a way no other piece of television ever has.\u003c/p>\n\u003cblockquote>\u003cp>Most girls when you first talk to them, they automatically analyze and compare themselves to you. Then they search for where you fit into their hierarchy and treat you accordingly. Like, how close you are to what they collectively want to be in their heads. And even if they’ve mastered the art of hiding it with smiles and nods and small talk, you still catch them doing it. You know, their eyes wandering over your face, or the quick takes up and down your body. They watch how your clothes hang off your torso, or they look for what tags are on your clothes to see where you shop, or they’ll watch your hands to find fucked up cuticles or chipped nail polish. It would be a sensual experience if it wasn’t so fucking terrifying.\u003c/p>\u003c/blockquote>\n\u003cp>So often television boils down the teen experience to girls being unnecessarily mean to each other. But here, we got much closer to the truth. Girls, under near-constant pressure to be the thinnest, the prettiest, the best dressed, take it out on each other even when they don’t mean to, because of living in a near-constant state of insecurity. Many can’t help but scrutinize others as a means to figure out what they’re doing wrong, or in what way they could be better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her special episode, Jules also talks about the realization that her attachment to taking hormones is, in part, rooted in trying to keep her voice high and her body small. And while she’s talking about her experience from a trans perspective, those sentiments ring true for a lot of adolescent girls. Smallness is, Jules believes, “what men want.” In real life, that belief system is one of the reasons puberty is considered a “\u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3761220/\" target=\"_blank\" rel=\"noopener noreferrer\">critical risk period\u003c/a>” for eating disorders in girls. I don’t recall ever hearing this discussed on a fictional TV show in a way that didn’t also convey the girl as somehow vain, self-indulgent or self-destructive. [aside postid='pop_112407']\u003c/p>\n\u003cp>Consistently in the show, Rue has been an example of a girl who has neither the time nor the energy to worry about such things. Instead, she has her grief, depression and addiction to contend with. But her unwillingness to do what is expected of her—her inability to fit in—is one of the things that alienates her from her peers and makes her feel so unlovable. Jules and Rue share deep feelings for each other precisely because they are both so different from the other girls. That’s why they know how to accept each other unconditionally. One scene in which Rue is seen lovingly helping Jules inject her hormones hammers the point home.\u003c/p>\n\u003cp>When you are an alienated teenager, finding a friend who will love you unconditionally and without judgment can be a literal life-saver. When we saw Rue in her special in December, alienated from Jules, she was once again so untethered, so uncomfortable in her own skin, that she expressed a desire to not “be here anymore.” It reminded me of conversations I had in my teens. Sometimes it was my friends saying it; sometimes it was me. That specific degree of pain—the pain of trying to find your place in a seemingly hostile world—had been wiped from my memory until \u003cem>Euphoria\u003c/em> brought it all screaming back.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dA1-ibkOzAA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these two special episodes, \u003cem>Euphoria\u003c/em> elevated its teen characters out of their narrow niches—the drug addict and the desperate-for-love trans girl—and gave them a depth that made them infinitely more relatable for much wider audiences. The specials successfully conveyed the small agonies that are ever-present for so many teenage girls, especially the ones who are a little bit different. And those intense and memorable performances from both Hunter Schafer and Zendaya were cathartic—not just for the teens still going through it, but for the countless adults who already survived it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When COVID-19 forced HBO’s \u003cem>Euphoria\u003c/em> to press pause on filming Season 2, it could have completely scuppered the show’s momentum. Season 1 ultimately succeeded in conveying the trials of Gen Z adolescence, but it also focused a little too much time and energy on proving how dysfunctional its characters were. In the end, \u003cem>Euphoria\u003c/em> worked because of the strength and commitment of its supremely talented cast, but it also occasionally got bogged down in its own desire to shock. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two special episodes to emerge out of the pandemic—“Rue,” which aired in December, and “Jules,” which started streaming over the weekend—have benefitted from slowing down their focus and allowing the show’s two lead characters to exhale. In taking the time to permit Rue (played by Zendaya) and Jules (Hunter Schafer) to verbalize everything they have going on internally, the show has managed to sharply pinpoint the agony of teenage life in a much more effective way than the first season did.\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/s1P5czi0H_g'\n title='//www.youtube.com/embed/s1P5czi0H_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Sunday’s hour-long episode, Jules, 17 and trans, is seen in a therapy session. There, she discusses her relationship to men, to Rue—who recently crossed over from best friend to love interest—and to her own body. In Season 1, the agony of teen girlhood was conveyed, by and large, via a variety of characters dealing with physical and emotional exploitations. The girls were subjected to sexual assaults, coercion, pressure to take nude photos, and slut-shaming.\u003c/p>\n\u003cp>All of those things pose real threats to the lives of teenage girls, of course. But it was in Sunday’s episode that I was most viscerally reminded of the weight and near-constant discomfort inherent in being a teenage girl. Jules, in describing to her therapist why Rue felt so much like home, made a speech that took me right back to high school in a way no other piece of television ever has.\u003c/p>\n\u003cblockquote>\u003cp>Most girls when you first talk to them, they automatically analyze and compare themselves to you. Then they search for where you fit into their hierarchy and treat you accordingly. Like, how close you are to what they collectively want to be in their heads. And even if they’ve mastered the art of hiding it with smiles and nods and small talk, you still catch them doing it. You know, their eyes wandering over your face, or the quick takes up and down your body. They watch how your clothes hang off your torso, or they look for what tags are on your clothes to see where you shop, or they’ll watch your hands to find fucked up cuticles or chipped nail polish. It would be a sensual experience if it wasn’t so fucking terrifying.\u003c/p>\u003c/blockquote>\n\u003cp>So often television boils down the teen experience to girls being unnecessarily mean to each other. But here, we got much closer to the truth. Girls, under near-constant pressure to be the thinnest, the prettiest, the best dressed, take it out on each other even when they don’t mean to, because of living in a near-constant state of insecurity. Many can’t help but scrutinize others as a means to figure out what they’re doing wrong, or in what way they could be better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her special episode, Jules also talks about the realization that her attachment to taking hormones is, in part, rooted in trying to keep her voice high and her body small. And while she’s talking about her experience from a trans perspective, those sentiments ring true for a lot of adolescent girls. Smallness is, Jules believes, “what men want.” In real life, that belief system is one of the reasons puberty is considered a “\u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3761220/\" target=\"_blank\" rel=\"noopener noreferrer\">critical risk period\u003c/a>” for eating disorders in girls. I don’t recall ever hearing this discussed on a fictional TV show in a way that didn’t also convey the girl as somehow vain, self-indulgent or self-destructive. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consistently in the show, Rue has been an example of a girl who has neither the time nor the energy to worry about such things. Instead, she has her grief, depression and addiction to contend with. But her unwillingness to do what is expected of her—her inability to fit in—is one of the things that alienates her from her peers and makes her feel so unlovable. Jules and Rue share deep feelings for each other precisely because they are both so different from the other girls. That’s why they know how to accept each other unconditionally. One scene in which Rue is seen lovingly helping Jules inject her hormones hammers the point home.\u003c/p>\n\u003cp>When you are an alienated teenager, finding a friend who will love you unconditionally and without judgment can be a literal life-saver. When we saw Rue in her special in December, alienated from Jules, she was once again so untethered, so uncomfortable in her own skin, that she expressed a desire to not “be here anymore.” It reminded me of conversations I had in my teens. Sometimes it was my friends saying it; sometimes it was me. That specific degree of pain—the pain of trying to find your place in a seemingly hostile world—had been wiped from my memory until \u003cem>Euphoria\u003c/em> brought it all screaming back.\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/dA1-ibkOzAA'\n title='//www.youtube.com/embed/dA1-ibkOzAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In these two special episodes, \u003cem>Euphoria\u003c/em> elevated its teen characters out of their narrow niches—the drug addict and the desperate-for-love trans girl—and gave them a depth that made them infinitely more relatable for much wider audiences. The specials successfully conveyed the small agonies that are ever-present for so many teenage girls, especially the ones who are a little bit different. And those intense and memorable performances from both Hunter Schafer and Zendaya were cathartic—not just for the teens still going through it, but for the countless adults who already survived it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'In & Of Itself' is a Study of Identity and Magic",
"headTitle": "‘In & Of Itself’ is a Study of Identity and Magic | KQED",
"content": "\u003cp>\u003cem>Who are you?\u003c/em>\u003c/p>\n\u003cp>If you saw Derek DelGaudio’s \u003cem>In & Of Itself \u003c/em>in its original incarnation as live theater, the first thing that happened was that as you went into the Daryl Roth Theatre, you passed a wall with little cards hanging on it, and you were meant to choose one. They said “I AM” on the top half, and then there was a word or a phrase on the bottom half. So you could choose “I AM the life of the party,” or “I AM a father,” or “I AM an accountant.” The first time I went to see it in October 2017, I had sold my book only a couple of months earlier, and it was a year and a half away from publication. I chose “I AM a novelist.” They collected the cards and tore them—you kept your I AM half, they kept the other half. The cards they kept were placed in a little stack. That’s how it started.\u003c/p>\n\u003cp>I ultimately saw the show one more time with a friend in January 2018 (that time, I believe I chose “I AM a gamechanger” or something), because I couldn’t bear that no one I was close to had seen it and could talk about it with me. Now, a filmed adaptation is available on Hulu. And they’ve managed to do something that’s always hard with filmed theater and seemed like it was going to be almost impossible here: They’ve made this version feel very, very much the way one of the most powerful theatrical experiences I’ve ever had felt when I was in the room.\u003c/p>\n\u003cp>DelGaudio is … well, he’s a storyteller, and he’s a performer, and he’s a magician. You’ll hear \u003cem>In & Of Itself \u003c/em>referred to as conceptual magic or interactive theater or a one-man show. Those things are all technically true, but they’re desperately incomplete. I might describe it as a series of vignettes, punctuated by some basic sleight-of-hand, some card tricks, and two of the most extraordinary audience-involved sequences I ever expect to see. I don’t understand—at all—how either was done. I have tried not to make too many guesses. I don’t want people to tell me their guesses. I know both sequences have earthly explanations, but I don’t need them. I don’t want them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_62BeXxd_jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t mean to stall with the basics; I want to describe the show to you, because of how badly I want to persuade you to watch the film. But I knew essentially nothing when I first saw it except that it was kind of magic-adjacent and several people I trusted had recommended it. I want that for you. So I don’t want to tell you too much about the elephant, or the brick, or the boat, or the moment in the film when you can see a familiar audience member’s hand shaking with emotion. (The film is assembled from several live performances, so you’ll glimpse a handful of the many famous people who made their way into the theater at some point or another, but no attention is drawn to them unless you’re looking for it.) [aside postid='arts_13882001']\u003c/p>\n\u003cp>One of the traps of watching magic is that it can be like watching fireworks: At the beginning, there’s the startle that comes from just being reminded that a particular thing—explosions, or card tricks—can be really impressive and grand. But once you see that a couple of times, the effect quickly fades. And with magic, what are your choices once you’ve seen something flashy other than to either forget about it or fuss over how it was done? Once it’s over, what can you do with it, with the fact of it, other than try to ruin it for yourself? What’s special about this magic relative to a lot of lesser presentations is that it’s \u003cem>about \u003c/em>something. It’s about seeing people and being seen by them, and about how your own narrative of who you are—I AM a novelist, I AM a gamechanger—collides with stories about who you are that you didn’t get to write.\u003c/p>\n\u003cp>The place of magic in \u003cem>In & Of Itself\u003c/em> is not to amaze for amazement’s sake, although I was certainly stunned by some of what happened. It’s that the unreal is used to create the super-real: an experience you know not to take literally creates a truthful feeling of connectedness in an audience. You’ll see that feeling in the climax of the show, which starts about 15 minutes from the end of the film, and I can honestly, truly tell you it felt just like that to me when I saw it. The things you’re seeing aren’t literally what they seem, in the same way a body is not literally being sawed in half in another show, or a rabbit isn’t really spontaneously appearing in a hat. But the feeling was entirely genuine, in that it activated a part of me that craved that moment of being seen and identified and recognized as \u003cem>myself\u003c/em>, and that’s what you see in the often emotional reactions of DelGaudio’s audience in the film.\u003c/p>\n\u003cp>(Stay for the credits; there’s a series of photos and videos that reflect the way the show sends a bit of itself out into the world, out into the places where its specific illusions don’t persist.)\u003c/p>\n\u003cp>Not often but occasionally, you’ll see quick cuts through the same moment in the show as it happened during a bunch of performances, generally to demonstrate how it looked with all different people in the audience. It’s an effective technique, partly because it can put to rest some theories about how some of the show’s magic might have been accomplished (no, it was not the same person in that seat or in this situation every night) and partly to emphasize over and over one of the things that makes live theater special, which is that each performance only exists relative to its audience, especially with something like this. You never see \u003cem>the \u003c/em>show, only \u003cem>your \u003c/em>show. You see your show on your night, with your company, in your mood. In less expert hands, that could break the film by making each individual moment feel interchangeable, but director Frank Oz—who was also DelGaudio’s partner in the production of the original show—knows how to deploy those techniques sparingly, so that you’re just briefly reminded that this reality was created over and over, and it was always a little different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m probably always going to want to know how some of this was done, but I try not to think about it. Do not tell me. I prefer to sit quietly with my not-understanding, which is to say, my wonder. I AM a skeptic; I AM a critic; I AM a novelist; I AM satisfied.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Who are you?\u003c/em>\u003c/p>\n\u003cp>If you saw Derek DelGaudio’s \u003cem>In & Of Itself \u003c/em>in its original incarnation as live theater, the first thing that happened was that as you went into the Daryl Roth Theatre, you passed a wall with little cards hanging on it, and you were meant to choose one. They said “I AM” on the top half, and then there was a word or a phrase on the bottom half. So you could choose “I AM the life of the party,” or “I AM a father,” or “I AM an accountant.” The first time I went to see it in October 2017, I had sold my book only a couple of months earlier, and it was a year and a half away from publication. I chose “I AM a novelist.” They collected the cards and tore them—you kept your I AM half, they kept the other half. The cards they kept were placed in a little stack. That’s how it started.\u003c/p>\n\u003cp>I ultimately saw the show one more time with a friend in January 2018 (that time, I believe I chose “I AM a gamechanger” or something), because I couldn’t bear that no one I was close to had seen it and could talk about it with me. Now, a filmed adaptation is available on Hulu. And they’ve managed to do something that’s always hard with filmed theater and seemed like it was going to be almost impossible here: They’ve made this version feel very, very much the way one of the most powerful theatrical experiences I’ve ever had felt when I was in the room.\u003c/p>\n\u003cp>DelGaudio is … well, he’s a storyteller, and he’s a performer, and he’s a magician. You’ll hear \u003cem>In & Of Itself \u003c/em>referred to as conceptual magic or interactive theater or a one-man show. Those things are all technically true, but they’re desperately incomplete. I might describe it as a series of vignettes, punctuated by some basic sleight-of-hand, some card tricks, and two of the most extraordinary audience-involved sequences I ever expect to see. I don’t understand—at all—how either was done. I have tried not to make too many guesses. I don’t want people to tell me their guesses. I know both sequences have earthly explanations, but I don’t need them. I don’t want them.\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/_62BeXxd_jo'\n title='//www.youtube.com/embed/_62BeXxd_jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t mean to stall with the basics; I want to describe the show to you, because of how badly I want to persuade you to watch the film. But I knew essentially nothing when I first saw it except that it was kind of magic-adjacent and several people I trusted had recommended it. I want that for you. So I don’t want to tell you too much about the elephant, or the brick, or the boat, or the moment in the film when you can see a familiar audience member’s hand shaking with emotion. (The film is assembled from several live performances, so you’ll glimpse a handful of the many famous people who made their way into the theater at some point or another, but no attention is drawn to them unless you’re looking for it.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the traps of watching magic is that it can be like watching fireworks: At the beginning, there’s the startle that comes from just being reminded that a particular thing—explosions, or card tricks—can be really impressive and grand. But once you see that a couple of times, the effect quickly fades. And with magic, what are your choices once you’ve seen something flashy other than to either forget about it or fuss over how it was done? Once it’s over, what can you do with it, with the fact of it, other than try to ruin it for yourself? What’s special about this magic relative to a lot of lesser presentations is that it’s \u003cem>about \u003c/em>something. It’s about seeing people and being seen by them, and about how your own narrative of who you are—I AM a novelist, I AM a gamechanger—collides with stories about who you are that you didn’t get to write.\u003c/p>\n\u003cp>The place of magic in \u003cem>In & Of Itself\u003c/em> is not to amaze for amazement’s sake, although I was certainly stunned by some of what happened. It’s that the unreal is used to create the super-real: an experience you know not to take literally creates a truthful feeling of connectedness in an audience. You’ll see that feeling in the climax of the show, which starts about 15 minutes from the end of the film, and I can honestly, truly tell you it felt just like that to me when I saw it. The things you’re seeing aren’t literally what they seem, in the same way a body is not literally being sawed in half in another show, or a rabbit isn’t really spontaneously appearing in a hat. But the feeling was entirely genuine, in that it activated a part of me that craved that moment of being seen and identified and recognized as \u003cem>myself\u003c/em>, and that’s what you see in the often emotional reactions of DelGaudio’s audience in the film.\u003c/p>\n\u003cp>(Stay for the credits; there’s a series of photos and videos that reflect the way the show sends a bit of itself out into the world, out into the places where its specific illusions don’t persist.)\u003c/p>\n\u003cp>Not often but occasionally, you’ll see quick cuts through the same moment in the show as it happened during a bunch of performances, generally to demonstrate how it looked with all different people in the audience. It’s an effective technique, partly because it can put to rest some theories about how some of the show’s magic might have been accomplished (no, it was not the same person in that seat or in this situation every night) and partly to emphasize over and over one of the things that makes live theater special, which is that each performance only exists relative to its audience, especially with something like this. You never see \u003cem>the \u003c/em>show, only \u003cem>your \u003c/em>show. You see your show on your night, with your company, in your mood. In less expert hands, that could break the film by making each individual moment feel interchangeable, but director Frank Oz—who was also DelGaudio’s partner in the production of the original show—knows how to deploy those techniques sparingly, so that you’re just briefly reminded that this reality was created over and over, and it was always a little different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. [aside postid='pop_109932']\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sj9J2ecsSpo\u003c/p>\n\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. [aside postid='arts_13872364']\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\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/sj9J2ecsSpo'\n title='//www.youtube.com/embed/sj9J2ecsSpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joanne Rogers, an an accomplished concert pianist who celebrated and protected the legacy of her husband, the beloved children’s TV host Mister Rogers, has died in Pittsburgh. She was 92.\u003c/p>\n\u003cp>Rogers died Thursday, according to the Fred Rogers Center. No cause of death was given. The center called her “a joyful and tender-hearted spirit, whose heart and wisdom have guided our work in service of Fred’s enduring legacy.”\u003c/p>\n\u003cp>Joanne and Fred Rogers were married for more than 50 years, spanning the launch and end of the low-key, low-tech “Mister Rogers’ Neighborhood,” which presented Fred Rogers as one adult in a busy world who always had time to listen to children. His pull as America’s favorite neighbor never seemed to wane before his death in 2003.\u003c/p>\n\u003cp>“I can’t think of a time when we’ve needed him so much,” Joanne Rogers told The Associated Press in 2018. “I think his work is just as timely now as it was when it came out, frankly.”\u003c/p>\n\u003cp>An ordained Presbyterian minister, Fred Rogers produced the pioneering show at Pittsburgh public television station WQED beginning in 1966, going national two years later. He composed his own songs for the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It offered a soft haven for kids, in sharp contrast to the louder, more animated competition. The final episode of what his widow called “a comfortable lap” aired in August 2001.\u003c/p>\n\u003cp>PBS stations around the country still air “Mister Rogers’ Neighborhood” and some can be found on the PBS Kids video app. There are DVD collections on Amazon and episodes stream on Amazon Prime.\u003c/p>\n\u003cp>Fred Rogers’ effect on popular culture was profound: Eddie Murphy parodied him on “Saturday Night Live” in the 1980s and one of Rogers’ trademark zip-up sweaters hangs in the Smithsonian’s National Museum of American History. He’s had a category dedicated to him on “Jeopardy.”\u003c/p>\n\u003cp>2018, the 50th anniversary of when Rogers first appeared on TV screens, prompted a PBS special, a new postage stamp, the feature-length documentary “Won’t You Be My Neighbor?” and, a year later, the Tom Hanks-led biopic “A Beautiful Day in the Neighborhood.”\u003c/p>\n\u003cp>Born Sara Joanne Byrd in 1928, Joanne Rogers met her future husband at Rollins College in Florida. After Fred Rogers’ death, she helped develop the Fred Rogers Center Center for Early Learning and Children’s Media at St. Vincent College in his hometown of Latrobe, Pennsylvania.\u003c/p>\n\u003cp>“Joanne and Fred were Pennsylvania treasures committed to improving our communities and the lives of our children. We will never forget their legacy of kindness,” Pennsylvania Gov. Tom Wolf said in a statement.\u003c/p>\n\u003cp>She is survived by two sons, James Byrd Rogers and John Rogers.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press reporter Michael Rubinkam contributed to this report from Pennsylvania.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joanne Rogers, an an accomplished concert pianist who celebrated and protected the legacy of her husband, the beloved children’s TV host Mister Rogers, has died in Pittsburgh. She was 92.\u003c/p>\n\u003cp>Rogers died Thursday, according to the Fred Rogers Center. No cause of death was given. The center called her “a joyful and tender-hearted spirit, whose heart and wisdom have guided our work in service of Fred’s enduring legacy.”\u003c/p>\n\u003cp>Joanne and Fred Rogers were married for more than 50 years, spanning the launch and end of the low-key, low-tech “Mister Rogers’ Neighborhood,” which presented Fred Rogers as one adult in a busy world who always had time to listen to children. His pull as America’s favorite neighbor never seemed to wane before his death in 2003.\u003c/p>\n\u003cp>“I can’t think of a time when we’ve needed him so much,” Joanne Rogers told The Associated Press in 2018. “I think his work is just as timely now as it was when it came out, frankly.”\u003c/p>\n\u003cp>An ordained Presbyterian minister, Fred Rogers produced the pioneering show at Pittsburgh public television station WQED beginning in 1966, going national two years later. He composed his own songs for the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It offered a soft haven for kids, in sharp contrast to the louder, more animated competition. The final episode of what his widow called “a comfortable lap” aired in August 2001.\u003c/p>\n\u003cp>PBS stations around the country still air “Mister Rogers’ Neighborhood” and some can be found on the PBS Kids video app. There are DVD collections on Amazon and episodes stream on Amazon Prime.\u003c/p>\n\u003cp>Fred Rogers’ effect on popular culture was profound: Eddie Murphy parodied him on “Saturday Night Live” in the 1980s and one of Rogers’ trademark zip-up sweaters hangs in the Smithsonian’s National Museum of American History. He’s had a category dedicated to him on “Jeopardy.”\u003c/p>\n\u003cp>2018, the 50th anniversary of when Rogers first appeared on TV screens, prompted a PBS special, a new postage stamp, the feature-length documentary “Won’t You Be My Neighbor?” and, a year later, the Tom Hanks-led biopic “A Beautiful Day in the Neighborhood.”\u003c/p>\n\u003cp>Born Sara Joanne Byrd in 1928, Joanne Rogers met her future husband at Rollins College in Florida. After Fred Rogers’ death, she helped develop the Fred Rogers Center Center for Early Learning and Children’s Media at St. Vincent College in his hometown of Latrobe, Pennsylvania.\u003c/p>\n\u003cp>“Joanne and Fred were Pennsylvania treasures committed to improving our communities and the lives of our children. We will never forget their legacy of kindness,” Pennsylvania Gov. Tom Wolf said in a statement.\u003c/p>\n\u003cp>She is survived by two sons, James Byrd Rogers and John Rogers.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press reporter Michael Rubinkam contributed to this report from Pennsylvania.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need a Break? The Pets and Vets of 'All Creatures Great and Small' Might Hit the Spot",
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"content": "\u003cp>When young veterinarian James Herriot first opened his eyes and saw the richly green hills around Darrowby in the new adaptation of \u003cem>All Creatures Great And Small\u003c/em>, I felt my shoulders drop. When he saw the village tucked—it must be said—adorably into the valley between them, I felt my breathing slow.\u003c/p>\n\u003cp>Darrowby is the fictional setting for the real James Herriot’s books about his life as a vet in Yorkshire, England, and the new \u003cem>All Creatures Great and Small \u003c/em>that arrived on PBS on Sunday night after a successful run in the UK is the second television version of those stories to feature a fictionalized Herriot (here played by Nicholas Ralph) joining the veterinary practice of Siegfried Farnon (Samuel West) and, eventually, Siegfried’s brother Tristan (Callum Woodhouse). The first version ran from 1978 to 1990, and while I remember almost nothing about it, it’s one of the shows that formed my general impression of PBS shows when I was young: gentle, calm, funny without a laugh track, and very popular with parents, mine included. And now, as a person older than they were at the time, I have—not for the first time—come around to their way of thinking.\u003c/p>\n\u003cp>The new \u003cem>All Creatures Great and Small \u003c/em>is, above all else, soothing. Not because it is mindless or merely distracting, but because the slice of humanity that it focuses on is a slice taken from the better rather than the worst of what we can be. Is this a lot to ask of a show that adapts stories about taking care of animals in a beautiful setting in 1930s England? Maybe. But for all its simplicity, it has a real and resonant core, in that the drama comes not from external and fanciful circumstances, but from the day-to-day matters of family and work.\u003c/p>\n\u003cp>The family here is Herriot, the two Farnons, and Mrs. Hall (Anna Madeley), who takes care of Siegfried’s house, where they all live and where the veterinary practice is located. The first season, which consists of six episodes and the beloved traditional Christmas episode (an idea the UK embraces and American television usually doesn’t, to its detriment), establishes this family with its loving but complicated relationships. The stories are focused as much on mentoring and teaching and caring for people—and the drama and comedy that naturally follow—as so many shows are on harming and forgiving and enabling people. There is something to be said for the realism of television that reminds us uncannily of our worst and most toxic relationships; this is television meant to remind us of the contours of our best ones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MZzFjeQFpro\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As played by Ralph, who gets the rarely-seen “introducing” credit, James Herriot is a nervous but committed young vet who leaves home and family in Glasgow to take one of the few vet jobs that’s open now that the world is turning from horses to cars: the Yorkshire practice of Siegfried Farnon. Siegfried sees cows and bulls, working horses and racehorses, sheep and goats, cats and dogs, and birds and ferrets. He is the vet in Darrowby, and they’re all his responsibility—especially since he tends to toss his assistants in short order. He’s haughty but also dryly funny, and Mrs. Hall’s obvious fondness for him, while it calls to mind a lot of other housekeeper-homeowner relationships of fiction, helps to humanize him. Shortly after James arrives, Siegfried’s ne’er-do-well brother Tristan blows back into town after failing his vet school exams. Siegfried practically raised Tristan from adolescence, so this sets up a dynamic in which if you squint, Siegfried and Mrs. Hall (whose name is Audrey, it will turn out) are the parents, and James and Tristan are the sons: the older one responsible and shy, the younger one brash and charming and prone to screwing up.\u003c/p>\n\u003cp>So really, what unfolds is a chosen-family story, with dashes of cute dogs and pregnant cows and an underlying recognition that animals, for many residents of Darrowby, are the most important property they own as well as revered living creatures. The reason a vet in Yorkshire is such a rich well of stories is not only because animals are interesting or they get a lot of weird diseases. It’s because in a farming community, animals are adjacent to wealth, to power, to business, to sport, to families, to children, to making a living. They are adjacent to everything important, so vets know the rich and the poor, the honest and the dishonest. Siegfried’s practice is everything to this community. In fact, one of the best episodes finds James doing his first turn as the vet at the local fair, measuring ponies and judging the pet contest, and it reminded me a pinch—just a \u003cem>pinch\u003c/em>—of the episode of \u003cem>Schitt’s Creek \u003c/em>where the family winds up dancing in the barn. It is about what it means to be joined to a community, with all its joys and frustrations.\u003c/p>\n\u003cp>There are, unsurprisingly, women other than Audrey who come into the lives of the three men. The only one it seems sporting to discuss is Helen Alderson (Rachel Shenton), who lives on one of the farms Herriot visits. Helen is independent and capable (at most things), but also funny and observant, and she seems a bit fascinated by the new vet’s assistant.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>PBS will be running these episodes once a week through the rest of January and February (and making them available on demand), and when you reach the end, there is another sigh, just like the one that comes with the first view of the rolling hills. It’s the satisfaction of a well-designed first season of what I hope will be a long run. Particularly at a time when rest is important and exhaling is important, perhaps a beautiful setting, some fine performances and a high regard for what happens inside a home between people who care for each other will be just what the (ahem) doctor ordered.\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=Need+A+Break%3F+The+Pets+And+Vets+Of+%27All+Creatures+Great+And+Small%27+Might+Hit+The+Spot&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>As played by Ralph, who gets the rarely-seen “introducing” credit, James Herriot is a nervous but committed young vet who leaves home and family in Glasgow to take one of the few vet jobs that’s open now that the world is turning from horses to cars: the Yorkshire practice of Siegfried Farnon. Siegfried sees cows and bulls, working horses and racehorses, sheep and goats, cats and dogs, and birds and ferrets. He is the vet in Darrowby, and they’re all his responsibility—especially since he tends to toss his assistants in short order. He’s haughty but also dryly funny, and Mrs. Hall’s obvious fondness for him, while it calls to mind a lot of other housekeeper-homeowner relationships of fiction, helps to humanize him. Shortly after James arrives, Siegfried’s ne’er-do-well brother Tristan blows back into town after failing his vet school exams. Siegfried practically raised Tristan from adolescence, so this sets up a dynamic in which if you squint, Siegfried and Mrs. Hall (whose name is Audrey, it will turn out) are the parents, and James and Tristan are the sons: the older one responsible and shy, the younger one brash and charming and prone to screwing up.\u003c/p>\n\u003cp>So really, what unfolds is a chosen-family story, with dashes of cute dogs and pregnant cows and an underlying recognition that animals, for many residents of Darrowby, are the most important property they own as well as revered living creatures. The reason a vet in Yorkshire is such a rich well of stories is not only because animals are interesting or they get a lot of weird diseases. It’s because in a farming community, animals are adjacent to wealth, to power, to business, to sport, to families, to children, to making a living. They are adjacent to everything important, so vets know the rich and the poor, the honest and the dishonest. Siegfried’s practice is everything to this community. In fact, one of the best episodes finds James doing his first turn as the vet at the local fair, measuring ponies and judging the pet contest, and it reminded me a pinch—just a \u003cem>pinch\u003c/em>—of the episode of \u003cem>Schitt’s Creek \u003c/em>where the family winds up dancing in the barn. It is about what it means to be joined to a community, with all its joys and frustrations.\u003c/p>\n\u003cp>There are, unsurprisingly, women other than Audrey who come into the lives of the three men. The only one it seems sporting to discuss is Helen Alderson (Rachel Shenton), who lives on one of the farms Herriot visits. Helen is independent and capable (at most things), but also funny and observant, and she seems a bit fascinated by the new vet’s assistant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>PBS will be running these episodes once a week through the rest of January and February (and making them available on demand), and when you reach the end, there is another sigh, just like the one that comes with the first view of the rolling hills. It’s the satisfaction of a well-designed first season of what I hope will be a long run. Particularly at a time when rest is important and exhaling is important, perhaps a beautiful setting, some fine performances and a high regard for what happens inside a home between people who care for each other will be just what the (ahem) doctor ordered.\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=Need+A+Break%3F+The+Pets+And+Vets+Of+%27All+Creatures+Great+And+Small%27+Might+Hit+The+Spot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fran Lebowitz's 'Pretend It's a City' is the NYC Trip You Can't Take Right Now",
"headTitle": "Fran Lebowitz’s ‘Pretend It’s a City’ is the NYC Trip You Can’t Take Right Now | KQED",
"content": "\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MClMxqD-HNA\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” [aside postid='pop_8412']\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&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>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "As 'Mr. Mayor,' Ted Danson Sustains His Stellar Sitcom Streak",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/2011/04/13/135247195/tina-fey-reveals-all-and-then-some-in-bossypants\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Fey\u003c/a> and Robert Carlock, the creators of NBC’s new sitcom \u003cem>Mr. Mayor\u003c/em>, were deep into the run of their hit \u003cem>30 Rock \u003c/em>when they came up with a promising idea for a spinoff. How about taking Jack Donaghy, the corporate executive played by \u003ca href=\"https://www.npr.org/2017/04/05/522712736/alec-baldwin-on-career-highs-and-lows-and-playing-a-larger-than-life-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin\u003c/a>, and have him run for mayor—and win?\u003c/p>\n\u003cp>That didn’t happen, and Baldwin ended up playing a much more powerful politician, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/12/514800509/melissa-mccarthys-spicey-and-alec-baldwins-trump-return-to-snl\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly and hilariously\u003c/a>, on Tina Fey’s old stomping grounds, \u003cem>Saturday Night Live. \u003c/em>[aside postid='pop_96840']\u003c/p>\n\u003cp>But that comic concept—of a celebrity mayor surrounded, and often defended by, an eager, yet weary, staff—was too good to let go. After all, it worked for years on ABC’s \u003cem>Spin City, \u003c/em>with \u003ca href=\"https://www.npr.org/2020/12/21/947962393/michael-j-fox-reflects-on-life-with-parkinsons-in-no-time-like-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">Michael J. Fox \u003c/a>playing the political assistant of a clueless mayor. And Mayor Jack Donaghy wouldn’t have been clueless—just arrogant and very, very vocal.\u003c/p>\n\u003cp>But with Donaghy out, Fey and Carlock dumped the spinoff idea and reshaped it into \u003cem>Mr. Mayor.\u003c/em> Where \u003cem>30 Rock\u003c/em> was set in and perfectly captured New York, the new sitcom is set in Los Angeles—and Neil Bremer, the newly elected mayor, isn’t a corporate executive, or even a TV celebrity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Iq7pZDK4cE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Bremer is a retired millionaire who made his fortune plastering billboards all along Southern California’s streets and highways. He’s not clueless or arrogant, but he does come to the job without credentials or experience. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=112884242\" target=\"_blank\" rel=\"noopener noreferrer\">Ted Danson\u003c/a>, the actor who plays Bremer, is the exact opposite—with so many credentials, and so much experience at starring in TV sitcoms, that it’s almost ridiculous. [aside postid='pop_105436']\u003c/p>\n\u003cp>NBC’s launch of \u003cem>Mr. Mayor \u003c/em>extends Danson’s astounding streak of starring in sitcoms to five consecutive decades. In the 1980s, he had an 11-year run starring as Sam Malone on NBC’s \u003cem>Cheers\u003c/em>. In the ’90s, he was still starring in \u003cem>Cheers\u003c/em>, then began a six-season run as the star of \u003cem>Becker \u003c/em>on CBS. In the 2000s, he finished up \u003cem>Becker\u003c/em> and started playing an exaggerated version of himself as a recurring character on \u003ca href=\"https://www.npr.org/2015/03/05/390948906/larry-davids-first-time-on-broadway-its-not-so-easy\" target=\"_blank\" rel=\"noopener noreferrer\">Larry David\u003c/a>‘s HBO series, \u003ca href=\"https://www.npr.org/2017/09/29/554262873/curb-your-enthusiasm-returns-and-larry-david-is-back-to-playing-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Curb Your Enthusiasm\u003c/em>\u003c/a>\u003cem>.\u003c/em> He’s still doing that. And in the decade that just ended, Danson also starred for four years on another brilliant sitcom, NBC’s \u003ca href=\"https://www.npr.org/2020/01/31/801540105/a-goodbye-to-the-good-place\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a>. And now, \u003cem>Mr. Mayor.\u003c/em> I’m in awe of that run—not only for its quantity and longevity, but also for its quality.\u003c/p>\n\u003cp>In \u003cem>Mr. Mayor, \u003c/em>Danson takes the spotlight and shines once again, playing a character who’s clearly delighted by the job he ran for, and won, on a whim. Mayor Bremer’s relationship with his 15-year-old daughter Orly, played by Kyla Kenedy, gives the show as much comic potential as the political workplace. Especially since Danson, as a father frustrated by his inability to connect with his teen daughter, takes the script and sticks every landing on every line—even the absurdly inappropriate toss-aways.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Mayor \u003c/em>has other secret weapons, too, including Holly Hunter, who begins the series as the mayor’s most vocal adversary. She’s wonderful. So is former \u003cem>SNL\u003c/em> player \u003ca href=\"https://www.npr.org/2014/01/26/265698086/for-snl-cast-member-the-waiting-was-the-hardest-part\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan \u003c/a>as one of the mayor’s political aides—and, basically, so is this entire show. NBC is premiering two episodes of \u003cem>Mr. Mayor \u003c/em>on Thursday, the night once reserved for such great, must-see TV sitcoms as \u003cem>Cheers\u003c/em>, which began its run there almost 40 years ago. To start 2021 on a very good note, NBC has done it again. And so has Ted Danson.\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=As+%27Mr.+Mayor%2C%27+Ted+Danson+Sustains+His+Stellar+Sitcom+Streak&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2011/04/13/135247195/tina-fey-reveals-all-and-then-some-in-bossypants\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Fey\u003c/a> and Robert Carlock, the creators of NBC’s new sitcom \u003cem>Mr. Mayor\u003c/em>, were deep into the run of their hit \u003cem>30 Rock \u003c/em>when they came up with a promising idea for a spinoff. How about taking Jack Donaghy, the corporate executive played by \u003ca href=\"https://www.npr.org/2017/04/05/522712736/alec-baldwin-on-career-highs-and-lows-and-playing-a-larger-than-life-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin\u003c/a>, and have him run for mayor—and win?\u003c/p>\n\u003cp>That didn’t happen, and Baldwin ended up playing a much more powerful politician, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/12/514800509/melissa-mccarthys-spicey-and-alec-baldwins-trump-return-to-snl\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly and hilariously\u003c/a>, on Tina Fey’s old stomping grounds, \u003cem>Saturday Night Live. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that comic concept—of a celebrity mayor surrounded, and often defended by, an eager, yet weary, staff—was too good to let go. After all, it worked for years on ABC’s \u003cem>Spin City, \u003c/em>with \u003ca href=\"https://www.npr.org/2020/12/21/947962393/michael-j-fox-reflects-on-life-with-parkinsons-in-no-time-like-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">Michael J. Fox \u003c/a>playing the political assistant of a clueless mayor. And Mayor Jack Donaghy wouldn’t have been clueless—just arrogant and very, very vocal.\u003c/p>\n\u003cp>But with Donaghy out, Fey and Carlock dumped the spinoff idea and reshaped it into \u003cem>Mr. Mayor.\u003c/em> Where \u003cem>30 Rock\u003c/em> was set in and perfectly captured New York, the new sitcom is set in Los Angeles—and Neil Bremer, the newly elected mayor, isn’t a corporate executive, or even a TV celebrity.\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/4Iq7pZDK4cE'\n title='//www.youtube.com/embed/4Iq7pZDK4cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Bremer is a retired millionaire who made his fortune plastering billboards all along Southern California’s streets and highways. He’s not clueless or arrogant, but he does come to the job without credentials or experience. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=112884242\" target=\"_blank\" rel=\"noopener noreferrer\">Ted Danson\u003c/a>, the actor who plays Bremer, is the exact opposite—with so many credentials, and so much experience at starring in TV sitcoms, that it’s almost ridiculous. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NBC’s launch of \u003cem>Mr. Mayor \u003c/em>extends Danson’s astounding streak of starring in sitcoms to five consecutive decades. In the 1980s, he had an 11-year run starring as Sam Malone on NBC’s \u003cem>Cheers\u003c/em>. In the ’90s, he was still starring in \u003cem>Cheers\u003c/em>, then began a six-season run as the star of \u003cem>Becker \u003c/em>on CBS. In the 2000s, he finished up \u003cem>Becker\u003c/em> and started playing an exaggerated version of himself as a recurring character on \u003ca href=\"https://www.npr.org/2015/03/05/390948906/larry-davids-first-time-on-broadway-its-not-so-easy\" target=\"_blank\" rel=\"noopener noreferrer\">Larry David\u003c/a>‘s HBO series, \u003ca href=\"https://www.npr.org/2017/09/29/554262873/curb-your-enthusiasm-returns-and-larry-david-is-back-to-playing-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Curb Your Enthusiasm\u003c/em>\u003c/a>\u003cem>.\u003c/em> He’s still doing that. And in the decade that just ended, Danson also starred for four years on another brilliant sitcom, NBC’s \u003ca href=\"https://www.npr.org/2020/01/31/801540105/a-goodbye-to-the-good-place\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a>. And now, \u003cem>Mr. Mayor.\u003c/em> I’m in awe of that run—not only for its quantity and longevity, but also for its quality.\u003c/p>\n\u003cp>In \u003cem>Mr. Mayor, \u003c/em>Danson takes the spotlight and shines once again, playing a character who’s clearly delighted by the job he ran for, and won, on a whim. Mayor Bremer’s relationship with his 15-year-old daughter Orly, played by Kyla Kenedy, gives the show as much comic potential as the political workplace. Especially since Danson, as a father frustrated by his inability to connect with his teen daughter, takes the script and sticks every landing on every line—even the absurdly inappropriate toss-aways.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Mayor \u003c/em>has other secret weapons, too, including Holly Hunter, who begins the series as the mayor’s most vocal adversary. She’s wonderful. So is former \u003cem>SNL\u003c/em> player \u003ca href=\"https://www.npr.org/2014/01/26/265698086/for-snl-cast-member-the-waiting-was-the-hardest-part\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan \u003c/a>as one of the mayor’s political aides—and, basically, so is this entire show. NBC is premiering two episodes of \u003cem>Mr. Mayor \u003c/em>on Thursday, the night once reserved for such great, must-see TV sitcoms as \u003cem>Cheers\u003c/em>, which began its run there almost 40 years ago. To start 2021 on a very good note, NBC has done it again. And so has Ted Danson.\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=As+%27Mr.+Mayor%2C%27+Ted+Danson+Sustains+His+Stellar+Sitcom+Streak&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Holiday Rom-Coms Go Beyond Diversity to Center New Christmas Stars",
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"content": "\u003cp>Christmas romantic comedies are known for cozy sweaters, roaring fireplaces, meaningful glances over cups of hot chocolate and stars who, until recently, looked like a bunch of models from a Land’s End catalog circa 1985.\u003c/p>\n\u003cp>Rare were the Christmas rom-coms with Asian, queer, Latinx or disabled characters. When Black characters started to show up, they generally played sidekicks—or they starred in family holiday movies, not the kind of Christmas rom-coms where Mom’s always there to help with a thorny relationship dilemma, the cider is forever mulled and not a single problem can’t be solved by declaring love under the mistletoe. [aside postid='arts_13889581']\u003c/p>\n\u003cp>2020, of all the years, might be the one where all this decisively changed. It’s been happening for a while, but holiday rom-coms this year are centering like never before on characters who only slowly started appearing in these movies, at first in the margins.\u003c/p>\n\u003cp>“People see themselves in our programming and feel welcome here,” explains Amy Winter, head of programming for Lifetime and Lifetime Movie Network. “We have over 20 diverse leads and over 80 diverse characters in the course of this premiere season. So, we’re doing pretty well.”\u003c/p>\n\u003cfigure id=\"attachment_13890720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3633821-f27bb1ad1e7c1828095e58dfacffee765dfa6cb2-800x600.jpg\" alt=\"Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel's many new holiday rom-coms, 'A Christmas Tree Grows in Colorado.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel’s many new holiday rom-coms, ‘A Christmas Tree Grows in Colorado.’ \u003ccite>(Ryan Plummer/2020 Crown Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be said there’s a full-on Christmas rom-com arms race between Lifetime and the Hallmark Channel. This year, Lifetime premiered 34 original Christmas movies to Hallmark’s 40. (Last year, Lifetime gave us 19, Hallmark, 16.) Perhaps when there are so darn many Christmas movies, it’s easier to feature leads who are Asian American (\u003cem>A Sugar & Spice Holiday\u003c/em>), gay men (\u003cem>The Christmas Set-up\u003c/em> and \u003cem>The Christmas House\u003c/em>) and wheelchair users (\u003cem>Christmas Ever After\u003c/em>), as well as Latinx (\u003cem>Feliz NaviDAD\u003c/em>, \u003cem>Jingle Bell Bride\u003c/em>) and Black (too many this year to name!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Diversity among ‘people of color’ has been a priority for us for many years,” Allison Bennett told NPR in an email. She’s Crown Media’s vice president of corporate communications, which owns the Hallmark Channel. Both Hallmark and Lifetime have now established successful Christmas rom-com franchises with mostly Black casts: \u003cem>Christmas in Evergreen\u003c/em> and the \u003cem>Merry Liddle Christmas\u003c/em> series.\u003c/p>\n\u003cp>“Just put them in my veins. I’ll watch them back to back,” jokes Brittany Luse. Cultural critic and host of \u003cem>\u003ca href=\"https://gimletmedia.com/shows/the-nod\" target=\"_blank\" rel=\"noopener noreferrer\">The Nod\u003c/a>\u003c/em>, Luse is also an unabashed Christmas rom-com fan who’s followed Black representation in these movies at least, she says, since \u003cem>The Preacher’s Wife\u003c/em> came out in 1996, starring Denzel Washington (“couldn’t have been hotter”) and Whitney Houston (“at her most devastatingly beautiful.”) But she points out that movie denied its main characters the kind of happy ending rom-com lovers expect. [aside postid='arts_13889735']\u003c/p>\n\u003cp>Since then, Luse says, these saccharine, cinematic bon-bons have become increasingly embraced in the mainstream. And while cheesy, they pack a cultural punch. Which may be partly why you see famous names like Kelly Rowland or Kristen Stewart showing up in the \u003cem>Merry Liddle\u003c/em> movies and \u003cem>Happiest Season—\u003c/em>the lesbian rom-com that happened to be Hulu’s biggest holiday hit this year.\u003c/p>\n\u003cfigure id=\"attachment_13890719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/sugar-and-spice-2-bb6e58350f5196737f41ab5d9009fb01830a17de-800x600.jpg\" alt=\"'A Sugar & Spice Holiday,' starring Jacky Lai and Tony Giroux, is Lifetime's first Chinese American Christmas romantic comedy.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">‘A Sugar & Spice Holiday,’ starring Jacky Lai and Tony Giroux, is Lifetime’s first Chinese American Christmas romantic comedy. \u003ccite>(Kailey Schwerman/Courtesy of Lifetime 2020)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re seeing that kind of progress and growth happening socioculturally among all kinds of marginalized people in so many areas of pop culture,” Luse observes. “But all of this is happening in a year when so many have evoked Breonna Taylor’s name, and things are—not good for so many marginalized people. As much as I enjoy these films, I can’t help but think we’re getting the most diverse slate of Christmas romantic comedies\u003cem> that the world has ever seen, \u003c/em>but people who are living the reality of those identities on a daily basis are having a really hard time right now.”\u003c/p>\n\u003cp>Escapism is deeply human. While crying over silly peccadilloes in romantic comedies won’t save the world, it won’t hurt it either. During this horrible year, Luse admits to finding relief in such Christmas movies as \u003cem>The Princess Switch 2\u003c/em> on Netflix and \u003cem>The Christmas Aunt\u003c/em> on Lifetime, starring Keshia Knight Pulliam—who a generation of fans remember as little Rudy from \u003cem>The Cosby Show—\u003c/em>as a grown-up art curator falling in love with her handsome high school crush. (Luse: “Was Lifetime stalking me? Like, did they read my emails?”) [aside postid='arts_13889748']\u003c/p>\n\u003cp>Lifetime’s Amy Winter says the network makes a point of not just sticking diverse actors in Christmas rom-coms without also hiring writers, directors and decision-makers who share their cultural perspectives. That said, there was one exception this year. \u003cem>Christmas Ever After \u003c/em>stars an actress in a wheelchair. It was written for an able-bodied lead, but Ali Stroker—\u003ca href=\"https://www.youtube.com/watch?v=ozcsGH5eyuU\" target=\"_blank\" rel=\"noopener noreferrer\">who’d just made history by winning a Tony for \u003cem>Oklahoma!\u003c/em>\u003c/a>—was beautiful, talented, charismatic and available. So, of course Lifetime hired her to play a romance novelist who finds love in a charming B&B in one of their 34 Christmas romcoms.\u003c/p>\n\u003cp>“We didn’t make a movie about a woman in a wheelchair at Christmas,” Winter says. “We made a Christmas movie that stars a woman in a wheelchair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Don’t call this Christmas casting magic, she adds. This is Christmas common sense.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Holiday+Rom-Coms+Go+Beyond+Diversity+To+Center+New+Christmas+Stars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christmas romantic comedies are known for cozy sweaters, roaring fireplaces, meaningful glances over cups of hot chocolate and stars who, until recently, looked like a bunch of models from a Land’s End catalog circa 1985.\u003c/p>\n\u003cp>Rare were the Christmas rom-coms with Asian, queer, Latinx or disabled characters. When Black characters started to show up, they generally played sidekicks—or they starred in family holiday movies, not the kind of Christmas rom-coms where Mom’s always there to help with a thorny relationship dilemma, the cider is forever mulled and not a single problem can’t be solved by declaring love under the mistletoe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2020, of all the years, might be the one where all this decisively changed. It’s been happening for a while, but holiday rom-coms this year are centering like never before on characters who only slowly started appearing in these movies, at first in the margins.\u003c/p>\n\u003cp>“People see themselves in our programming and feel welcome here,” explains Amy Winter, head of programming for Lifetime and Lifetime Movie Network. “We have over 20 diverse leads and over 80 diverse characters in the course of this premiere season. So, we’re doing pretty well.”\u003c/p>\n\u003cfigure id=\"attachment_13890720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3633821-f27bb1ad1e7c1828095e58dfacffee765dfa6cb2-800x600.jpg\" alt=\"Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel's many new holiday rom-coms, 'A Christmas Tree Grows in Colorado.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel’s many new holiday rom-coms, ‘A Christmas Tree Grows in Colorado.’ \u003ccite>(Ryan Plummer/2020 Crown Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be said there’s a full-on Christmas rom-com arms race between Lifetime and the Hallmark Channel. This year, Lifetime premiered 34 original Christmas movies to Hallmark’s 40. (Last year, Lifetime gave us 19, Hallmark, 16.) Perhaps when there are so darn many Christmas movies, it’s easier to feature leads who are Asian American (\u003cem>A Sugar & Spice Holiday\u003c/em>), gay men (\u003cem>The Christmas Set-up\u003c/em> and \u003cem>The Christmas House\u003c/em>) and wheelchair users (\u003cem>Christmas Ever After\u003c/em>), as well as Latinx (\u003cem>Feliz NaviDAD\u003c/em>, \u003cem>Jingle Bell Bride\u003c/em>) and Black (too many this year to name!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Diversity among ‘people of color’ has been a priority for us for many years,” Allison Bennett told NPR in an email. She’s Crown Media’s vice president of corporate communications, which owns the Hallmark Channel. Both Hallmark and Lifetime have now established successful Christmas rom-com franchises with mostly Black casts: \u003cem>Christmas in Evergreen\u003c/em> and the \u003cem>Merry Liddle Christmas\u003c/em> series.\u003c/p>\n\u003cp>“Just put them in my veins. I’ll watch them back to back,” jokes Brittany Luse. Cultural critic and host of \u003cem>\u003ca href=\"https://gimletmedia.com/shows/the-nod\" target=\"_blank\" rel=\"noopener noreferrer\">The Nod\u003c/a>\u003c/em>, Luse is also an unabashed Christmas rom-com fan who’s followed Black representation in these movies at least, she says, since \u003cem>The Preacher’s Wife\u003c/em> came out in 1996, starring Denzel Washington (“couldn’t have been hotter”) and Whitney Houston (“at her most devastatingly beautiful.”) But she points out that movie denied its main characters the kind of happy ending rom-com lovers expect. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Luse says, these saccharine, cinematic bon-bons have become increasingly embraced in the mainstream. And while cheesy, they pack a cultural punch. Which may be partly why you see famous names like Kelly Rowland or Kristen Stewart showing up in the \u003cem>Merry Liddle\u003c/em> movies and \u003cem>Happiest Season—\u003c/em>the lesbian rom-com that happened to be Hulu’s biggest holiday hit this year.\u003c/p>\n\u003cfigure id=\"attachment_13890719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/sugar-and-spice-2-bb6e58350f5196737f41ab5d9009fb01830a17de-800x600.jpg\" alt=\"'A Sugar & Spice Holiday,' starring Jacky Lai and Tony Giroux, is Lifetime's first Chinese American Christmas romantic comedy.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">‘A Sugar & Spice Holiday,’ starring Jacky Lai and Tony Giroux, is Lifetime’s first Chinese American Christmas romantic comedy. \u003ccite>(Kailey Schwerman/Courtesy of Lifetime 2020)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re seeing that kind of progress and growth happening socioculturally among all kinds of marginalized people in so many areas of pop culture,” Luse observes. “But all of this is happening in a year when so many have evoked Breonna Taylor’s name, and things are—not good for so many marginalized people. As much as I enjoy these films, I can’t help but think we’re getting the most diverse slate of Christmas romantic comedies\u003cem> that the world has ever seen, \u003c/em>but people who are living the reality of those identities on a daily basis are having a really hard time right now.”\u003c/p>\n\u003cp>Escapism is deeply human. While crying over silly peccadilloes in romantic comedies won’t save the world, it won’t hurt it either. During this horrible year, Luse admits to finding relief in such Christmas movies as \u003cem>The Princess Switch 2\u003c/em> on Netflix and \u003cem>The Christmas Aunt\u003c/em> on Lifetime, starring Keshia Knight Pulliam—who a generation of fans remember as little Rudy from \u003cem>The Cosby Show—\u003c/em>as a grown-up art curator falling in love with her handsome high school crush. (Luse: “Was Lifetime stalking me? Like, did they read my emails?”) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lifetime’s Amy Winter says the network makes a point of not just sticking diverse actors in Christmas rom-coms without also hiring writers, directors and decision-makers who share their cultural perspectives. That said, there was one exception this year. \u003cem>Christmas Ever After \u003c/em>stars an actress in a wheelchair. It was written for an able-bodied lead, but Ali Stroker—\u003ca href=\"https://www.youtube.com/watch?v=ozcsGH5eyuU\" target=\"_blank\" rel=\"noopener noreferrer\">who’d just made history by winning a Tony for \u003cem>Oklahoma!\u003c/em>\u003c/a>—was beautiful, talented, charismatic and available. So, of course Lifetime hired her to play a romance novelist who finds love in a charming B&B in one of their 34 Christmas romcoms.\u003c/p>\n\u003cp>“We didn’t make a movie about a woman in a wheelchair at Christmas,” Winter says. “We made a Christmas movie that stars a woman in a wheelchair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Don’t call this Christmas casting magic, she adds. This is Christmas common sense.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Holiday+Rom-Coms+Go+Beyond+Diversity+To+Center+New+Christmas+Stars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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