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"content": "\u003cp>\u003cem>Ratched \u003c/em>is beautiful, but it’s really bad.\u003c/p>\n\u003cp>The messy eight-episode first season of the Netflix horror thriller (a second season is on the way) creates a backstory for Nurse Ratched, the heartless villain who has McMurphy lobotomized in \u003cem>One Flew Over The Cuckoo’s Nest\u003c/em>. Created by megaproducer Ryan Murphy and newcomer Evan Romansky, \u003cem>Ratched \u003c/em>succeeds as a compendium of stunning images, but that’s about it. As a story, it is nonsensical, self-indulgent and unsuccessful at saying anything about Ratched herself except something along the lines of “people do the darnedest things.”\u003c/p>\n\u003cp>This was probably a doomed project from the start, because Mildred Ratched doesn’t need a history and can’t be given one without breaking the character’s purpose. In \u003cem>Cuckoo’s Nest\u003c/em>, she is the pitiless and relentless face of the institution and the state. She grinds her patients down simply because she does and because she can and because she believes in rules; that is what makes her frightening. She represents an inhuman and inhumane society in its crushing of the individual, really, so she’s not meant to be thought of as a realistic and nuanced person. “How did her childhood make her so mean?” is beside the point when a character represents the absence of individuality and frailty and the surrender of your unique soul. And \u003cem>Ratched \u003c/em>does little to answer the questions it poses anyway, so confused is its presentation of the character.\u003c/p>\n\u003cp>Murphy’s creative bond with Sarah Paulson, who has appeared over and over in his series (including \u003cem>American Horror Story\u003c/em> and \u003cem>American Crime Story\u003c/em>), fails them both here. As Mildred, Paulson seems adrift in a way she has rarely been as an actor, because the way Mildred is written is largely incoherent. At first, we think we are perhaps seeing a sadist in the earliest days of her reign—a woman whose opportunistic brutality isn’t yet entirely funneled through her job. But then when the plot demands it, she becomes gentle and helpful, siding with patients in precisely the way she would never do in \u003cem>Cuckoo’s Nest\u003c/em>. The things that are meant to unlock Mildred’s psyche—that she’s a lesbian, that she suffered horrible childhood trauma, that she lost her parents very young—are baubles that dot the characterization, but none feel like insights into her behavior. It goes without saying that being a closeted lesbian doesn’t cause violence or cruelty, and Murphy surely doesn’t mean to suggest it does. But when you set out to give a backstory to a heartless character and this is so much a part of it, it’s awfully easy to be misunderstood. Mildred’s gentle romance with Gwendolyn (Cynthia Nixon) is likely intended as a tragic grace note, given that we know where all of this is headed and what Mildred’s future holds. But these are potent tropes with which to play.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU9ZtlkSnnE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a built-in defense against any unease viewers will bump into—a reflexive urge to say, “Look, I get what they’re going for”—because the style here is all grand gore and cheerful vulgarity. It’s very much like a season of \u003cem>American Horror Story\u003c/em>, suffused with Murphy’s longstanding fascination with body horror. But here, that fascination has been transplanted into the world of the mentally ill and the literally sickening treatments to which they’ve been subjected over decades. And really … why? It is one thing to know about the brutality and human rights violations that resulted in icepick lobotomies and trepanning and submersion in freezing or very hot water to “treat” everything from hallucinations to homosexuality. But using explicit images of those things in this context—where there is also a shocking amount of blood and gore of other kinds—seems uncomfortably close to mere exploitation, making a spectacle of atrocities that don’t deserve to be treated as spectacle.\u003c/p>\n\u003cp>Few of the other characters shed much light on Mildred’s story. Jon Jon Briones as Dr. Hanover is often more interesting than Mildred is, but his story eventually devolves into absurdity. Sharon Stone is swanning around with a monkey on her shoulder, playing the be-caftan-ed role in this production that Jessica Lange usually plays in Murphy’s stuff. But because she’s shoehorned into the story, the character is more shoulder-monkey than human. Judy Davis is terrific as Mildred’s initial adversary, Nurse Bucket, who at first is the ice-cold authoritarian Ratched is in \u003cem>Cuckoo’s Nest\u003c/em>. But just like Mildred herself, Bucket experiences personality swings between cruelty and kindness that don’t follow any discernible pattern except what’s needed to further the plot. The same goes for Finn Wittrock’s Edmund, who has come to the hospital after murdering a bunch of priests (would you like to guess whether you’ll get to see these murders in great detail?), and who seesaws between embodiment of evil and wounded victim.\u003c/p>\n\u003cp>The whole thing just doesn’t make any sense, and the more you think about it, the sillier it is. (Why can a patient institutionalized as “criminally insane,” who’s shackled at all times, suddenly … attend a \u003cem>hospital dance\u003c/em> that has one security guard? These things are troubling.)\u003c/p>\n\u003cp>\u003cem>Ratched\u003c/em> is, however, visually arresting. The use of color, in particular, is as breathtaking and inventive as any design you’ll find in television or film, and it’s almost worth watching this absurd series just to enjoy it. It is the deep blues of this institution that play off the pale colors we know from most hospital shows. But it’s everything else as well. It’s this stunning shot of Sophie Okonedo—who plays a patient who disassociates—simply sitting on a couch. The pink, the green of the sofa and the green of the carpet and the green in the skirt (all different but unified in an unexpected way), the blue curtains that bring in the hospital.\u003c/p>\n\u003cfigure id=\"attachment_13886545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg\" alt=\"Sophie Okonedo plays Charlotte in 'Ratched.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Okonedo plays Charlotte in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this shot of the staff, with uniforms that have that deep hospital tone, but also are touched with a paler blue-green, all standing on a copper carpet.\u003c/p>\n\u003cfigure id=\"attachment_13886539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_107_unit_00784r_wide-d185d361d1403802b8e1f87f19fc3417ac6f873a-800x450.jpg\" alt=\"The staff assembles in front of Nurse Bucket (Judy Davis) in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The staff assembles in front of Nurse Bucket (Judy Davis) in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this meticulous composition—coppers and peaches in the foreground, blues further back, with Mildred in black in the middle.\u003c/p>\n\u003cfigure id=\"attachment_13886540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_108_unit_00249rc2_wide-ee57a867454d33b96831089a763b1117c7d3796b-800x450.jpg\" alt=\"Sarah Paulson stands out as Mildred in her hospital in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Paulson stands out as Mildred in her hospital in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This series would make a stunning book of photographs, and production designer Judy Becker, locations manager Robert Foulkes, and costume designers Lou Eyrich and Rebecca Guzzi deserve great credit for creating an impeccable world that deserved to have much more interesting things happen inside of it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ratched \u003c/em>has some of the telltale weaknesses of many pieces that come from creators who are so powerful that their freedoms have, paradoxically, become limiting. Netflix has, for years, bragged about the input it doesn’t offer, the notes it doesn’t give, the “no” it wouldn’t think to direct at an auteur. But here, perhaps a small dose of notes—from \u003cem>someone\u003c/em>—would have been useful. Perhaps someone needed to say, “This really doesn’t make any sense.” Very often, to be edited is to be well-served and to be told no is to be rescued from the excesses of your own creative mind. It’s possible that Netflix, in its collaborations with idiosyncratic producers, needs a more robust Department Of No.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ratched%27+Is+Pretty%2C+But+Very+Silly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ratched \u003c/em>is beautiful, but it’s really bad.\u003c/p>\n\u003cp>The messy eight-episode first season of the Netflix horror thriller (a second season is on the way) creates a backstory for Nurse Ratched, the heartless villain who has McMurphy lobotomized in \u003cem>One Flew Over The Cuckoo’s Nest\u003c/em>. Created by megaproducer Ryan Murphy and newcomer Evan Romansky, \u003cem>Ratched \u003c/em>succeeds as a compendium of stunning images, but that’s about it. As a story, it is nonsensical, self-indulgent and unsuccessful at saying anything about Ratched herself except something along the lines of “people do the darnedest things.”\u003c/p>\n\u003cp>This was probably a doomed project from the start, because Mildred Ratched doesn’t need a history and can’t be given one without breaking the character’s purpose. In \u003cem>Cuckoo’s Nest\u003c/em>, she is the pitiless and relentless face of the institution and the state. She grinds her patients down simply because she does and because she can and because she believes in rules; that is what makes her frightening. She represents an inhuman and inhumane society in its crushing of the individual, really, so she’s not meant to be thought of as a realistic and nuanced person. “How did her childhood make her so mean?” is beside the point when a character represents the absence of individuality and frailty and the surrender of your unique soul. And \u003cem>Ratched \u003c/em>does little to answer the questions it poses anyway, so confused is its presentation of the character.\u003c/p>\n\u003cp>Murphy’s creative bond with Sarah Paulson, who has appeared over and over in his series (including \u003cem>American Horror Story\u003c/em> and \u003cem>American Crime Story\u003c/em>), fails them both here. As Mildred, Paulson seems adrift in a way she has rarely been as an actor, because the way Mildred is written is largely incoherent. At first, we think we are perhaps seeing a sadist in the earliest days of her reign—a woman whose opportunistic brutality isn’t yet entirely funneled through her job. But then when the plot demands it, she becomes gentle and helpful, siding with patients in precisely the way she would never do in \u003cem>Cuckoo’s Nest\u003c/em>. The things that are meant to unlock Mildred’s psyche—that she’s a lesbian, that she suffered horrible childhood trauma, that she lost her parents very young—are baubles that dot the characterization, but none feel like insights into her behavior. It goes without saying that being a closeted lesbian doesn’t cause violence or cruelty, and Murphy surely doesn’t mean to suggest it does. But when you set out to give a backstory to a heartless character and this is so much a part of it, it’s awfully easy to be misunderstood. Mildred’s gentle romance with Gwendolyn (Cynthia Nixon) is likely intended as a tragic grace note, given that we know where all of this is headed and what Mildred’s future holds. But these are potent tropes with which to play.\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/ZU9ZtlkSnnE'\n title='//www.youtube.com/embed/ZU9ZtlkSnnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a built-in defense against any unease viewers will bump into—a reflexive urge to say, “Look, I get what they’re going for”—because the style here is all grand gore and cheerful vulgarity. It’s very much like a season of \u003cem>American Horror Story\u003c/em>, suffused with Murphy’s longstanding fascination with body horror. But here, that fascination has been transplanted into the world of the mentally ill and the literally sickening treatments to which they’ve been subjected over decades. And really … why? It is one thing to know about the brutality and human rights violations that resulted in icepick lobotomies and trepanning and submersion in freezing or very hot water to “treat” everything from hallucinations to homosexuality. But using explicit images of those things in this context—where there is also a shocking amount of blood and gore of other kinds—seems uncomfortably close to mere exploitation, making a spectacle of atrocities that don’t deserve to be treated as spectacle.\u003c/p>\n\u003cp>Few of the other characters shed much light on Mildred’s story. Jon Jon Briones as Dr. Hanover is often more interesting than Mildred is, but his story eventually devolves into absurdity. Sharon Stone is swanning around with a monkey on her shoulder, playing the be-caftan-ed role in this production that Jessica Lange usually plays in Murphy’s stuff. But because she’s shoehorned into the story, the character is more shoulder-monkey than human. Judy Davis is terrific as Mildred’s initial adversary, Nurse Bucket, who at first is the ice-cold authoritarian Ratched is in \u003cem>Cuckoo’s Nest\u003c/em>. But just like Mildred herself, Bucket experiences personality swings between cruelty and kindness that don’t follow any discernible pattern except what’s needed to further the plot. The same goes for Finn Wittrock’s Edmund, who has come to the hospital after murdering a bunch of priests (would you like to guess whether you’ll get to see these murders in great detail?), and who seesaws between embodiment of evil and wounded victim.\u003c/p>\n\u003cp>The whole thing just doesn’t make any sense, and the more you think about it, the sillier it is. (Why can a patient institutionalized as “criminally insane,” who’s shackled at all times, suddenly … attend a \u003cem>hospital dance\u003c/em> that has one security guard? These things are troubling.)\u003c/p>\n\u003cp>\u003cem>Ratched\u003c/em> is, however, visually arresting. The use of color, in particular, is as breathtaking and inventive as any design you’ll find in television or film, and it’s almost worth watching this absurd series just to enjoy it. It is the deep blues of this institution that play off the pale colors we know from most hospital shows. But it’s everything else as well. It’s this stunning shot of Sophie Okonedo—who plays a patient who disassociates—simply sitting on a couch. The pink, the green of the sofa and the green of the carpet and the green in the skirt (all different but unified in an unexpected way), the blue curtains that bring in the hospital.\u003c/p>\n\u003cfigure id=\"attachment_13886545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg\" alt=\"Sophie Okonedo plays Charlotte in 'Ratched.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Okonedo plays Charlotte in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this shot of the staff, with uniforms that have that deep hospital tone, but also are touched with a paler blue-green, all standing on a copper carpet.\u003c/p>\n\u003cfigure id=\"attachment_13886539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_107_unit_00784r_wide-d185d361d1403802b8e1f87f19fc3417ac6f873a-800x450.jpg\" alt=\"The staff assembles in front of Nurse Bucket (Judy Davis) in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The staff assembles in front of Nurse Bucket (Judy Davis) in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this meticulous composition—coppers and peaches in the foreground, blues further back, with Mildred in black in the middle.\u003c/p>\n\u003cfigure id=\"attachment_13886540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_108_unit_00249rc2_wide-ee57a867454d33b96831089a763b1117c7d3796b-800x450.jpg\" alt=\"Sarah Paulson stands out as Mildred in her hospital in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Paulson stands out as Mildred in her hospital in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This series would make a stunning book of photographs, and production designer Judy Becker, locations manager Robert Foulkes, and costume designers Lou Eyrich and Rebecca Guzzi deserve great credit for creating an impeccable world that deserved to have much more interesting things happen inside of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ratched \u003c/em>has some of the telltale weaknesses of many pieces that come from creators who are so powerful that their freedoms have, paradoxically, become limiting. Netflix has, for years, bragged about the input it doesn’t offer, the notes it doesn’t give, the “no” it wouldn’t think to direct at an auteur. But here, perhaps a small dose of notes—from \u003cem>someone\u003c/em>—would have been useful. Perhaps someone needed to say, “This really doesn’t make any sense.” Very often, to be edited is to be well-served and to be told no is to be rescued from the excesses of your own creative mind. It’s possible that Netflix, in its collaborations with idiosyncratic producers, needs a more robust Department Of No.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ratched%27+Is+Pretty%2C+But+Very+Silly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Has working from home brought you and your cat closer this year? Has binge-watching \u003cem>Tiger King\u003c/em> given you a newfound reverence for all things feline? Have (the \u003ca href=\"https://www.kqed.org/arts/13886240/the-de-young-museum-will-reopen-to-the-public-on-sept-25\" target=\"_blank\" rel=\"noopener noreferrer\">soon-to-be-over\u003c/a>!) museum closures left you desperate for more art in your eyeballs?\u003c/p>\n\u003cp>If you answered “yes” to any of the above, and need viewing material both soothing and strange, I’ve got just the thing. It’s called \u003cem>Metropolitan Cats, 1983—A History of Cats at The Met\u003c/em> and it’s currently online, via the New York Metropolitan Museum’s \u003cem>\u003ca href=\"https://www.metmuseum.org/150/from-the-vaults?v=the-hunt-of-the-unicorn-1974-from-the-vaults\" target=\"_blank\" rel=\"noopener noreferrer\">From The Vaults\u003c/a>\u003c/em> series. [aside postid='pop_104602']\u003c/p>\n\u003cp>Back in 1983, the staff of The Met got together to discuss the history of cats in art. Documentary filmmaker \u003ca href=\"https://en.wikipedia.org/wiki/Robin_Lehman\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Lehman\u003c/a> (son of the banker Robert Lehman, who donated \u003ca href=\"https://www.metmuseum.org/about-the-met/curatorial-departments/the-robert-lehman-collection\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of artworks\u003c/a> to The Met) condensed it down into a 24-minute video that manages to be both informative and consistently bizarre.\u003c/p>\n\u003cp>The staff display an odd mix of reverence and fear towards cats, both real and depicted. Several of them talk of the cat as a rare creature that can symbolize domesticity and wildness simultaneously. Some speak of sacrificing their own comfort for that of their pet cats. And some sound like they’re in a dominance-and-submission discussion group that’s gone awry.\u003c/p>\n\u003cp>“I find it very easy to worship a cat,” says one woman. Another earnestly states: “The one thing I’ve found with cats—which is why I’ve not been involved with them—is they do not bend to human will.” At one point, someone else admits that “I’ve tried spanking a cat.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That weird tone also slips into some of the artwork analysis. One cat is deemed symbolic of a “courtesan, the geisha.” Another, depicted walking with kittens, is compared to “the happy hooker with her wages of sin.” And there’s hyperbole everywhere; at one point someone says of a cat portrait, “It’s a small print, but when it’s blown up, it’s like the large Andy Warhol portraits of Mao.” [aside postid='pop_104802']\u003c/p>\n\u003cp>Needless to say, watching this, if you’re not learning you’re laughing. Art featured includes works by Renoir, Francisco Goya, Currier & Ives, Oide Tōkō, Théophile Steinlen and more. And remember everyone, as one staff member notes here: “All cats are beautiful—even ugly cats are beautiful.”\u003c/p>\n\u003cp>You can watch \u003cem>Metropolitan Cats, 1983—A History of Cats at The Met \u003c/em>in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CwK5ukue0Pw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Has working from home brought you and your cat closer this year? Has binge-watching \u003cem>Tiger King\u003c/em> given you a newfound reverence for all things feline? Have (the \u003ca href=\"https://www.kqed.org/arts/13886240/the-de-young-museum-will-reopen-to-the-public-on-sept-25\" target=\"_blank\" rel=\"noopener noreferrer\">soon-to-be-over\u003c/a>!) museum closures left you desperate for more art in your eyeballs?\u003c/p>\n\u003cp>If you answered “yes” to any of the above, and need viewing material both soothing and strange, I’ve got just the thing. It’s called \u003cem>Metropolitan Cats, 1983—A History of Cats at The Met\u003c/em> and it’s currently online, via the New York Metropolitan Museum’s \u003cem>\u003ca href=\"https://www.metmuseum.org/150/from-the-vaults?v=the-hunt-of-the-unicorn-1974-from-the-vaults\" target=\"_blank\" rel=\"noopener noreferrer\">From The Vaults\u003c/a>\u003c/em> series. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in 1983, the staff of The Met got together to discuss the history of cats in art. Documentary filmmaker \u003ca href=\"https://en.wikipedia.org/wiki/Robin_Lehman\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Lehman\u003c/a> (son of the banker Robert Lehman, who donated \u003ca href=\"https://www.metmuseum.org/about-the-met/curatorial-departments/the-robert-lehman-collection\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of artworks\u003c/a> to The Met) condensed it down into a 24-minute video that manages to be both informative and consistently bizarre.\u003c/p>\n\u003cp>The staff display an odd mix of reverence and fear towards cats, both real and depicted. Several of them talk of the cat as a rare creature that can symbolize domesticity and wildness simultaneously. Some speak of sacrificing their own comfort for that of their pet cats. And some sound like they’re in a dominance-and-submission discussion group that’s gone awry.\u003c/p>\n\u003cp>“I find it very easy to worship a cat,” says one woman. Another earnestly states: “The one thing I’ve found with cats—which is why I’ve not been involved with them—is they do not bend to human will.” At one point, someone else admits that “I’ve tried spanking a cat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Soothing 'Great Pottery Throw Down' Makes Great Isolation TV",
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"content": "\u003cp>It’s very easy to explain the appeal of \u003cem>The Great Pottery Throw Down\u003c/em>, which comes to HBO MAX on September 17: It’s \u003cem>The Great British Bake-Off\u003c/em>, but for pottery, and it has the same gentle, good-hearted energy.\u003c/p>\n\u003cp>\u003cem>Throw Down \u003c/em>began on the BBC in 2015, so there are three seasons in the queue, and HBO MAX has all of them. That’s six episodes from season one, eight from season two, and ten from season three. I gobbled all 24 episodes eagerly over the space of a few quarantined days.\u003c/p>\n\u003cp>The format is \u003cem>Bake-Off \u003c/em>(known to U.S. viewers as \u003cem>The Great British Baking Show \u003c/em>for legal reasons) with only very modest adjustments. A host (Sara Cox for the first two seasons, Melanie Sykes for the third) brings warmth and support, two judges (Keith Brymer Jones in all three seasons, joined by Kate Malone for two seasons and Sue Pryke in the third) evaluate the results, and a lineup of lovely contestants with a spirit of teamwork rather than cutthroat competition works through a series of challenges.\u003c/p>\n\u003cp>I know far less about pottery than I do about baking, but it didn’t matter. The host and judges are good at explaining what goes into making a beautiful pot or a graceful handle for a pitcher. Each episode has one major challenge, plus one or two smaller ones that are easy to incorporate into the progress of the episode, since large pieces of pottery take so much time to dry and fire. (This is a thing I know all about now, you know. Ask me about outdoor kilns and pit-firing!) When you think about pottery, you might be envisioning plates and cups and bowls, and there’s plenty of that. But the judges also challenge the potters to create large garden sculptures, light fixtures, and—intriguingly—working toilets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VwipdMH4UIg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the things pottery has in common with baking is suspense. Just as you never know whether a cake will rise until you put it in the oven, you often can’t tell whether a piece of pottery is structurally sound until it comes out of the kiln. The friendly kiln man in all three seasons, whose name is Rich, is responsible for carefully placing each piece in to be fired, and for returning the pieces to the potters, who only then discover whether a piece has developed cracks or, in some cases, very nearly blown up. Populating a show like this with friendly and appealing people makes that suspense both more meaningful (“Oh no! Poor James!”) and less devastating (“Well, they’ll all give him supportive hugs!”).\u003c/p>\n\u003cp>If I have a complaint—I should muster something, right?—it’s that the bigger the projects become, the more they are engineering feats and the less success relies on elements of expression. The perfect balance between knowing how to make a heavy object support itself and knowing how to put a gorgeous glaze on a vase is worthy of reward, but at times, the larger projects tip toward people who know how to do large-scale 3D modeling, which can get a little dry for my taste. I like watching the creation of a delicate teacup more than I do a sturdy base that won’t collapse—even knowing both are perfectly legitimate parts of pottery. This may be a matter of personal preference and doesn’t reflect a lack of respect for building; I have nothing but admiration for anyone who can hand-build a toilet. (A phrase I never expected to place in a review.)\u003c/p>\n\u003cfigure id=\"attachment_13886468\" class=\"wp-caption alignright\" style=\"max-width: 264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png\" alt=\"Does it get any better than romantic lens flare over a handmade toilet?\" width=\"264\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png 264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM-160x133.png 160w\" sizes=\"(max-width: 264px) 100vw, 264px\">\u003cfigcaption class=\"wp-caption-text\">Does it get any better than romantic lens flare over a handmade toilet? \u003ccite>(Love Productions/HBO MAX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Timing is everything with baking, and with pottery—and sometimes with television, too. I would have welcomed, at any time, the opportunity to couch out (you know what I mean) with such a pleasant celebration of crafts. But right now, these 24 episodes, which are gentle and decent and educational and serene, and which celebrate patience and beauty and the creation of things that are sturdy and will last, arrived like a shipment of fuzzy slippers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=VwipdMH4UIg\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Soothing+%27Great+Pottery+Throw+Down%27+Makes+Great+Isolation+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s very easy to explain the appeal of \u003cem>The Great Pottery Throw Down\u003c/em>, which comes to HBO MAX on September 17: It’s \u003cem>The Great British Bake-Off\u003c/em>, but for pottery, and it has the same gentle, good-hearted energy.\u003c/p>\n\u003cp>\u003cem>Throw Down \u003c/em>began on the BBC in 2015, so there are three seasons in the queue, and HBO MAX has all of them. That’s six episodes from season one, eight from season two, and ten from season three. I gobbled all 24 episodes eagerly over the space of a few quarantined days.\u003c/p>\n\u003cp>The format is \u003cem>Bake-Off \u003c/em>(known to U.S. viewers as \u003cem>The Great British Baking Show \u003c/em>for legal reasons) with only very modest adjustments. A host (Sara Cox for the first two seasons, Melanie Sykes for the third) brings warmth and support, two judges (Keith Brymer Jones in all three seasons, joined by Kate Malone for two seasons and Sue Pryke in the third) evaluate the results, and a lineup of lovely contestants with a spirit of teamwork rather than cutthroat competition works through a series of challenges.\u003c/p>\n\u003cp>I know far less about pottery than I do about baking, but it didn’t matter. The host and judges are good at explaining what goes into making a beautiful pot or a graceful handle for a pitcher. Each episode has one major challenge, plus one or two smaller ones that are easy to incorporate into the progress of the episode, since large pieces of pottery take so much time to dry and fire. (This is a thing I know all about now, you know. Ask me about outdoor kilns and pit-firing!) When you think about pottery, you might be envisioning plates and cups and bowls, and there’s plenty of that. But the judges also challenge the potters to create large garden sculptures, light fixtures, and—intriguingly—working toilets.\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/VwipdMH4UIg'\n title='//www.youtube.com/embed/VwipdMH4UIg'\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>One of the things pottery has in common with baking is suspense. Just as you never know whether a cake will rise until you put it in the oven, you often can’t tell whether a piece of pottery is structurally sound until it comes out of the kiln. The friendly kiln man in all three seasons, whose name is Rich, is responsible for carefully placing each piece in to be fired, and for returning the pieces to the potters, who only then discover whether a piece has developed cracks or, in some cases, very nearly blown up. Populating a show like this with friendly and appealing people makes that suspense both more meaningful (“Oh no! Poor James!”) and less devastating (“Well, they’ll all give him supportive hugs!”).\u003c/p>\n\u003cp>If I have a complaint—I should muster something, right?—it’s that the bigger the projects become, the more they are engineering feats and the less success relies on elements of expression. The perfect balance between knowing how to make a heavy object support itself and knowing how to put a gorgeous glaze on a vase is worthy of reward, but at times, the larger projects tip toward people who know how to do large-scale 3D modeling, which can get a little dry for my taste. I like watching the creation of a delicate teacup more than I do a sturdy base that won’t collapse—even knowing both are perfectly legitimate parts of pottery. This may be a matter of personal preference and doesn’t reflect a lack of respect for building; I have nothing but admiration for anyone who can hand-build a toilet. (A phrase I never expected to place in a review.)\u003c/p>\n\u003cfigure id=\"attachment_13886468\" class=\"wp-caption alignright\" style=\"max-width: 264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png\" alt=\"Does it get any better than romantic lens flare over a handmade toilet?\" width=\"264\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png 264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM-160x133.png 160w\" sizes=\"(max-width: 264px) 100vw, 264px\">\u003cfigcaption class=\"wp-caption-text\">Does it get any better than romantic lens flare over a handmade toilet? \u003ccite>(Love Productions/HBO MAX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Timing is everything with baking, and with pottery—and sometimes with television, too. I would have welcomed, at any time, the opportunity to couch out (you know what I mean) with such a pleasant celebration of crafts. But right now, these 24 episodes, which are gentle and decent and educational and serene, and which celebrate patience and beauty and the creation of things that are sturdy and will last, arrived like a shipment of fuzzy slippers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=VwipdMH4UIg\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Soothing+%27Great+Pottery+Throw+Down%27+Makes+Great+Isolation+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This past Monday, the new Paris Hilton documentary \u003ca href=\"https://www.youtube.com/watch?v=wOg0TY1jG3w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This is Paris\u003c/em>\u003c/a> premiered on YouTube. Exploring her coddled childhood, her turbulent teens and beyond, \u003cem>This is Paris\u003c/em> offers a revealing look at the difference between Hilton’s real personality (complete with intense anxiety and chronic insomnia) and the ditzy celebrity persona she created to protect herself.\u003c/p>\n\u003cp>Some of the more harrowing moments in the film come when Hilton discusses the 2004 leak of her now-infamous sex tape. “That was a private moment with a teenage girl not in her right headspace,” Hilton tearfully reflects. “But everyone was watching it and laughing like it’s something funny… They made me the bad person.”\u003c/p>\n\u003cp>The home video was recorded in 2001 when Hilton was 19, and leaked by ex-boyfriend Rick Salomon in 2004, after Hilton found success with the first season of \u003cem>The Simple Life\u003c/em>. The public reaction to the tape at the time swung between mockery and disdain: \u003cem>This is Paris\u003c/em> includes a clip of David Letterman making jokes at her expense before a howling studio audience. (Let’s not forget that even Pink, an outspoken feminist, made fun of Hilton’s sex tape in the video for “\u003ca href=\"https://www.youtube.com/watch?v=BR4yQFZK9YM\" target=\"_blank\" rel=\"noopener noreferrer\">Stupid Girls\u003c/a>” in 2006.)\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton describes Salomon pressuring her to allow him to film her, and compares her experience to “being electronically raped.”\u003c/p>\n\u003cp>The details of Hilton’s humiliation were especially jarring to revisit on Monday, after a weekend in which \u003cem>Captain America\u003c/em>‘s Chris Evans received an outpouring of sympathy for accidentally posting an explicit picture of himself to Instagram. When screenshots of his photo started circulating on social media, fans and supporters quickly buried them under a sea of wholesome photos of the actor with his dog, messages of support, and tales about his kindness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/kiramvor/status/1305250163368366084\u003c/p>\n\u003cp>https://twitter.com/Skias2/status/1305205102249041920\u003c/p>\n\u003cp>https://twitter.com/BellaDameNoir/status/1305205393384038400\u003c/p>\n\u003cp>Evans escaped largely unscathed, even joking about it on Twitter the next day.\u003c/p>\n\u003cp>https://twitter.com/ChrisEvans/status/1305681183129436161\u003c/p>\n\u003cp>Even before Hilton’s documentary came out, a great number of women pointed out how female celebrities in Evans’ position are treated.\u003c/p>\n\u003cp>https://twitter.com/goodnightjdb/status/1305031389922947072\u003c/p>\n\u003cp>https://twitter.com/moniza_hossain/status/1305016160501391360\u003c/p>\n\u003cp>https://twitter.com/TudorChick1501/status/1305213719127961603\u003c/p>\n\u003cp>The double standards were impossible not to notice. A full decade after Hilton’s humiliation, actresses including Jennifer Lawrence, Emma Watson and Kirsten Dunst were shamed and blamed en masse after their intimate photos were made public by the \u003ca href=\"https://en.wikipedia.org/wiki/ICloud_leaks_of_celebrity_photos\" target=\"_blank\" rel=\"noopener noreferrer\">4Chan leak\u003c/a>. While vocal objections followed from feminist writers and media, the air around the whole thing smacked of both victim blaming and bringing successful women down a peg or two. (“It was all pain and no gain,” Lawrence later told \u003cem>Vogue\u003c/em>.)\u003c/p>\n\u003cp>https://twitter.com/EmmaWatson/status/506531006380527617\u003c/p>\n\u003cp>The fact that five of the hackers involved in the 4Chan leak were later sentenced to prison time (for periods ranging between eight and 34 months) has not acted as a major deterrent to others. In 2017, another hack took place, this time revealing intimate images of celebrities including Miley Cyrus, Kristen Stewart, Lindsey Vonn and Tiger Woods. (Woods was not shown any more mercy than the women—full frontal nudes of him are still circulating.)\u003c/p>\n\u003cp>There is evidence that the sympathetic treatment of Evans was not entirely about his gender, though. Last October, when Demi Lovato had explicit photos stolen and leaked online, supporters rushed to her defense in much the same way that Evans’ did over the weekend. Within hours of Lovato’s hacked Snapchat account directing users to a Discord server of her private photos, fans had buried them on social media. As with Evans, it was done with positivity and support.\u003c/p>\n\u003cp>https://twitter.com/rosesavocado/status/1185015077159755777\u003c/p>\n\u003cp>https://twitter.com/winterdaylov/status/1184989259981189120\u003c/p>\n\u003cp>https://twitter.com/aiidaannn/status/1184972196457918464\u003c/p>\n\u003cp>The fan outpouring also prompted swift action from Discord. The day after the leak, the gamer app released a statement that read: “We have a zero-tolerance approach to illegal activity on our platform and take immediate action when we become aware of it. We moved quickly yesterday to disable the link and stop access to the server as soon as we became aware of it.”\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton expresses the belief that if her sex tape were leaked now, she would be treated much more kindly than she was in 2004. “If that happened today,” she says in the documentary, “it would not be the same story at all.”\u003c/p>\n\u003cp>But that isn’t necessarily true.\u003c/p>\n\u003cp>Neither Evans nor Lovato was saved because our culture is nicer to violated celebrities than it was in 2004. They were saved because they’ve already given so much of themselves to the public. Evans has been consistently open about his own struggles with \u003ca href=\"https://www.menshealth.com/uk/mental-strength/a758320/watch-why-chris-evans-still-gets-anxiety-about-captain-america/\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety and depression\u003c/a>. And you’d be hard pushed to find another celebrity who’s been as transparent as Lovato when it comes to issues around addiction and mental health. (She also \u003ca href=\"https://www.cnn.com/2018/08/01/entertainment/demi-lovato-overdose/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">overdosed\u003c/a> the year before her leak, which means public sympathy for her was heightened.)\u003c/p>\n\u003cp>In contrast—as \u003cem>This is Paris\u003c/em> so effectively demonstrates—Hilton has spent most of her career actively caricaturing herself as a means to keep the most vulnerable parts of herself private. And the public definitely doesn’t care for that so much.\u003c/p>\n\u003cp>The big hacks of 2014 and 2017 went out of their way to humiliate successful, unattainable women. The fact that queer feminists Kristen Stewart and Miley Cyrus were targeted simultaneously is a demonstration of exactly what happens to those who don’t pander to the public.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no reason why dehumanizing famous people (especially female ones) should continue to be the standard. Neither should we go on assuming that celebrity personas invalidate the real people underneath. What the public response to both Evans’ and Lovato’s leaks demonstrates is that we as a culture are more than capable of taking the high road when we want to. That shouldn’t be contingent on them baring their souls to us first.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past Monday, the new Paris Hilton documentary \u003ca href=\"https://www.youtube.com/watch?v=wOg0TY1jG3w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This is Paris\u003c/em>\u003c/a> premiered on YouTube. Exploring her coddled childhood, her turbulent teens and beyond, \u003cem>This is Paris\u003c/em> offers a revealing look at the difference between Hilton’s real personality (complete with intense anxiety and chronic insomnia) and the ditzy celebrity persona she created to protect herself.\u003c/p>\n\u003cp>Some of the more harrowing moments in the film come when Hilton discusses the 2004 leak of her now-infamous sex tape. “That was a private moment with a teenage girl not in her right headspace,” Hilton tearfully reflects. “But everyone was watching it and laughing like it’s something funny… They made me the bad person.”\u003c/p>\n\u003cp>The home video was recorded in 2001 when Hilton was 19, and leaked by ex-boyfriend Rick Salomon in 2004, after Hilton found success with the first season of \u003cem>The Simple Life\u003c/em>. The public reaction to the tape at the time swung between mockery and disdain: \u003cem>This is Paris\u003c/em> includes a clip of David Letterman making jokes at her expense before a howling studio audience. (Let’s not forget that even Pink, an outspoken feminist, made fun of Hilton’s sex tape in the video for “\u003ca href=\"https://www.youtube.com/watch?v=BR4yQFZK9YM\" target=\"_blank\" rel=\"noopener noreferrer\">Stupid Girls\u003c/a>” in 2006.)\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton describes Salomon pressuring her to allow him to film her, and compares her experience to “being electronically raped.”\u003c/p>\n\u003cp>The details of Hilton’s humiliation were especially jarring to revisit on Monday, after a weekend in which \u003cem>Captain America\u003c/em>‘s Chris Evans received an outpouring of sympathy for accidentally posting an explicit picture of himself to Instagram. When screenshots of his photo started circulating on social media, fans and supporters quickly buried them under a sea of wholesome photos of the actor with his dog, messages of support, and tales about his kindness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The double standards were impossible not to notice. A full decade after Hilton’s humiliation, actresses including Jennifer Lawrence, Emma Watson and Kirsten Dunst were shamed and blamed en masse after their intimate photos were made public by the \u003ca href=\"https://en.wikipedia.org/wiki/ICloud_leaks_of_celebrity_photos\" target=\"_blank\" rel=\"noopener noreferrer\">4Chan leak\u003c/a>. While vocal objections followed from feminist writers and media, the air around the whole thing smacked of both victim blaming and bringing successful women down a peg or two. (“It was all pain and no gain,” Lawrence later told \u003cem>Vogue\u003c/em>.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The fact that five of the hackers involved in the 4Chan leak were later sentenced to prison time (for periods ranging between eight and 34 months) has not acted as a major deterrent to others. In 2017, another hack took place, this time revealing intimate images of celebrities including Miley Cyrus, Kristen Stewart, Lindsey Vonn and Tiger Woods. (Woods was not shown any more mercy than the women—full frontal nudes of him are still circulating.)\u003c/p>\n\u003cp>There is evidence that the sympathetic treatment of Evans was not entirely about his gender, though. Last October, when Demi Lovato had explicit photos stolen and leaked online, supporters rushed to her defense in much the same way that Evans’ did over the weekend. Within hours of Lovato’s hacked Snapchat account directing users to a Discord server of her private photos, fans had buried them on social media. As with Evans, it was done with positivity and support.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The fan outpouring also prompted swift action from Discord. The day after the leak, the gamer app released a statement that read: “We have a zero-tolerance approach to illegal activity on our platform and take immediate action when we become aware of it. We moved quickly yesterday to disable the link and stop access to the server as soon as we became aware of it.”\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton expresses the belief that if her sex tape were leaked now, she would be treated much more kindly than she was in 2004. “If that happened today,” she says in the documentary, “it would not be the same story at all.”\u003c/p>\n\u003cp>But that isn’t necessarily true.\u003c/p>\n\u003cp>Neither Evans nor Lovato was saved because our culture is nicer to violated celebrities than it was in 2004. They were saved because they’ve already given so much of themselves to the public. Evans has been consistently open about his own struggles with \u003ca href=\"https://www.menshealth.com/uk/mental-strength/a758320/watch-why-chris-evans-still-gets-anxiety-about-captain-america/\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety and depression\u003c/a>. And you’d be hard pushed to find another celebrity who’s been as transparent as Lovato when it comes to issues around addiction and mental health. (She also \u003ca href=\"https://www.cnn.com/2018/08/01/entertainment/demi-lovato-overdose/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">overdosed\u003c/a> the year before her leak, which means public sympathy for her was heightened.)\u003c/p>\n\u003cp>In contrast—as \u003cem>This is Paris\u003c/em> so effectively demonstrates—Hilton has spent most of her career actively caricaturing herself as a means to keep the most vulnerable parts of herself private. And the public definitely doesn’t care for that so much.\u003c/p>\n\u003cp>The big hacks of 2014 and 2017 went out of their way to humiliate successful, unattainable women. The fact that queer feminists Kristen Stewart and Miley Cyrus were targeted simultaneously is a demonstration of exactly what happens to those who don’t pander to the public.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no reason why dehumanizing famous people (especially female ones) should continue to be the standard. Neither should we go on assuming that celebrity personas invalidate the real people underneath. What the public response to both Evans’ and Lovato’s leaks demonstrates is that we as a culture are more than capable of taking the high road when we want to. That shouldn’t be contingent on them baring their souls to us first.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A community of strange locals, closed-mouthed about their history and their practices but firmly separated from most of society, is a staple of mystery stories. So is the person who stumbles upon them, fascinated and frightened and seduced by the unknown.\u003c/p>\n\u003cp>That’s the basic set-up for \u003cem>The Third Day\u003c/em>, a six-part HBO miniseries that premiered Monday night. Jude Law stars as Sam, a man we first meet while he’s in the middle of a frantic phone call, stopped by the side of a deserted road. We quickly learn that he’s got problems at home, but he’s also on his way to complete a ritual related to grief in his past. He encounters a young teenager in distress, and he wants to help her and take her home, so he follows her directions to Osea Island. Sam finds it—you guessed it—odd, beguiling, confusing, full of mystery.\u003c/p>\n\u003cp>The series is divided into two parts. We will follow Sam’s story for the first three episodes, called “Summer,” and then we will follow a woman named Helen (Naomie Harris) and her daughters—who also find themselves at Osea Island—for three episodes, called “Winter.” How this all comes together into a single narrative is something it wouldn’t be fair to explain (critics were given five out of the six episodes, making reviewing it something of a challenge).\u003c/p>\n\u003cp>\u003cem>The Third Day \u003c/em>is an effective creepy mystery in the early going, setting up question after question—\u003cem>why did that person do that? What is he talking about? What’s that mysterious-looking thing?—\u003c/em>that it will eventually have to answer in order to be satisfying. Many of those questions are answered over the course of the first five episodes, and they do hang together in a coherent fashion. The problem is that the story they tell isn’t all that interesting, nor is it outside the … well, the expected set of explanations for a community of creepy locals. It calls back to numerous other stories of those who stumble into towns from which they probably should skedaddle posthaste, to the point where you could almost diagram at the beginning the flow chart of options for where this is all going, and you wouldn’t have to move very far off the chart by the end.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T43V6z9wYyE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Law is a talented actor who’s expanded his image since his impossibly pretty youth, and this is certainly one of his less glamorous roles. (But let’s face it: He’s still one of the most facially symmetrical actors we have.) He’s always been more interesting when used at an angle, either in a way that makes his beauty tragic (as in \u003cem>The Talented Mr. Ripley\u003c/em>) or that transforms his charisma into something almost grotesque (as in \u003cem>Spy\u003c/em>). Sam is certainly a tortured man with a pained history that gives Law a lot of room to emote, but is the character particularly \u003cem>complex\u003c/em>? I’m not sure. It feels at times like \u003cem>The Third Day \u003c/em>has confusion where it should have nuance, the blunt sense that you’re waiting for an envelope to be opened where you should feel engrossed in the fates of the characters.\u003c/p>\n\u003cp>The cast is solid, even outside of Law, who carries the first half: Harris is a good and protective mom, Emily Watson is fun as one of the townspeople whose entire demeanor should be a red flag for Sam, and Katherine Waterston is just the right amount of normal as a woman who explains to Sam that she came to Osea to study it. It’s possible that choosing any of those characters, rather than Sam, to carry the first three episodes might have been wise, if only to change up the point of view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s hard to knock a show that knows what its mood is (in this case, creeping dread) and carries it through. Genre pieces feel like the genres they belong to, and it’s unfair to ding them for that. But there’s something that just never quite takes off about these five installments (I’d love to tell you whether the sixth solves the problem, but who knows?). The setting is there, but there’s something disappointing about the reveals, and a little hollow. You want the resolution to a mystery to be expansive like an essay, not just a multiple-choice question where you can finally circle the right answer.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Third+Day%27+Makes+Mysterious+But+Predictable+Promises&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>Law is a talented actor who’s expanded his image since his impossibly pretty youth, and this is certainly one of his less glamorous roles. (But let’s face it: He’s still one of the most facially symmetrical actors we have.) He’s always been more interesting when used at an angle, either in a way that makes his beauty tragic (as in \u003cem>The Talented Mr. Ripley\u003c/em>) or that transforms his charisma into something almost grotesque (as in \u003cem>Spy\u003c/em>). Sam is certainly a tortured man with a pained history that gives Law a lot of room to emote, but is the character particularly \u003cem>complex\u003c/em>? I’m not sure. It feels at times like \u003cem>The Third Day \u003c/em>has confusion where it should have nuance, the blunt sense that you’re waiting for an envelope to be opened where you should feel engrossed in the fates of the characters.\u003c/p>\n\u003cp>The cast is solid, even outside of Law, who carries the first half: Harris is a good and protective mom, Emily Watson is fun as one of the townspeople whose entire demeanor should be a red flag for Sam, and Katherine Waterston is just the right amount of normal as a woman who explains to Sam that she came to Osea to study it. It’s possible that choosing any of those characters, rather than Sam, to carry the first three episodes might have been wise, if only to change up the point of view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s hard to knock a show that knows what its mood is (in this case, creeping dread) and carries it through. Genre pieces feel like the genres they belong to, and it’s unfair to ding them for that. But there’s something that just never quite takes off about these five installments (I’d love to tell you whether the sixth solves the problem, but who knows?). The setting is there, but there’s something disappointing about the reveals, and a little hollow. You want the resolution to a mystery to be expansive like an essay, not just a multiple-choice question where you can finally circle the right answer.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Third+Day%27+Makes+Mysterious+But+Predictable+Promises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the morning of Jan. 28, 1986, households and classrooms across America excitedly awaited the launch of the Space Shuttle Challenger. The much-hyped mission was particularly notable for its team of unusually relatable astronauts—in particular, schoolteacher Christa McAuliffe. When the shuttle exploded 73 seconds after takeoff, it prompted an outpouring of grief that few who lived through it will ever forget.\u003c/p>\n\u003cp>For many, the accident was a wound to America during a time of historically high levels of patriotic confidence. In an address to the nation after the accident, President Ronald Reagan imbued his tribute with the nobility and higher calling that the nation had already come to associate with the astronauts. “We will never forget them,” he said. “Nor the last time we saw them this morning, as they prepared for the journey, and waved goodbye, and slipped the surly bonds of Earth to touch the face of God.”\u003c/p>\n\u003cp>The tragedy was found later to be caused by the failure of O-ring seals in the right solid rocket booster. After the accident, the shuttle program was suspended for almost three years.\u003c/p>\n\u003cp>For new generations living in a post 9/11 world, it can sometimes be difficult to comprehend the sheer emotional impact that the Challenger disaster had—not just on America, but internationally as well. Last September, Netflix and executive producer J.J. Abrams delved into the disaster and its impact with a four-part documentary series, \u003cem>Challenger: The Final Flight\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ILAeVAgqFV4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before the show premiered, KQED Arts gathered first-person perspectives from 10 people whose childhoods were impacted by the tragedy.\u003c/p>\n\u003cp>\u003cstrong>Ned Raggett was aged 14 and in San Diego:\u003c/strong>\u003c/p>\n\u003cp>“I had finished my English midterm early and I was in the library. [A teacher] came in with a grave look on her face and said something about what had happened and I did not believe it. After that, the day is a blur lost in time—but it was a grim one. The whole run-up from Christa McAuliffe getting the spot on the shuttle to the rolling aftermath is a fraught experience that still lingers heavily in the memory.”\u003c/p>\n\u003cp>\u003cstrong>Alexis Arenas was aged 9 and in Baltimore: \u003c/strong>\u003c/p>\n\u003cp>“Christa McAuliffe was like a rock star. A teacher in space! They had built her up to hero status. My younger sister and I were home due to a snowstorm and we were so excited to see the Challenger launch. Our mother quickly shut off the TV. The pall that struck us, and the nation, is something we didn’t see again until 9/11. But there was comfort in being so united in grief. My two sons now attend an elementary school named after [one of the Challenger astronauts] Dr. Ronald McNair. The whole school has a space theme. It’s wonderful to see his memory is not lost to the annals of time.” [aside postid='pop_110446']\u003c/p>\n\u003cp>\u003cstrong>Paul Cox was 12 and in Huntsville, Alabama:\u003c/strong>\u003c/p>\n\u003cp>“I was home with a pretty significant case of chicken pox. I remember my mom coming into my room crying. The next few months were really tense, because my dad was one of the thousands of aerospace engineers who worked on the shuttle. Specifically, he worked on the solid rocket boosters. When it was officially blamed on a bad O-ring there was much relief, because that was the domain of an entirely different company than the one he worked for. But I’ve never really talked with him about that time as an adult. I imagine he was sick with guilt for weeks and weeks.”\u003c/p>\n\u003cp>\u003cstrong>Erika Skinner was 8 and in Ellicottville, New York:\u003c/strong>\u003c/p>\n\u003cp>“My class watched it live. Our teacher quietly turned off the TV and we didn’t discuss it. It was bewildering. I want to say we eventually talked about it. Maybe the following day? But in the immediate aftermath I think all the adults were so shocked and unprepared that they just went through the motions for the rest of the day. Everyone just went numb. I remember thinking that because no one was making a big deal out of it that maybe I imagined what I saw. That maybe I misunderstood it and that’s just what it looks like when a shuttle is launched and everyone is fine.”\u003c/p>\n\u003cp>\u003cstrong>Emily Chaney was 9 and in Denver:\u003c/strong>\u003c/p>\n\u003cp>“I remember the quiet that took over the room. The TV being switched off. One of those ones on wheels. I remember teachers crying.”\u003c/p>\n\u003cp>\u003cstrong>Chaki Sklar was aged 6 and in Van Nuys:\u003c/strong>\u003c/p>\n\u003cp>“When the teacher started crying it was like a domino effect where the rest of us started crying too. I remember we were just hugging each other weeping and weeping and weeping.”\u003c/p>\n\u003cp>\u003cstrong>Kyra Rehn was aged 7 and in rural Illinois:\u003c/strong>\u003c/p>\n\u003cp>“I had pretended to be sick so I could skip school and watch while my parents were at work. I had made every one of my extra-credit art projects about the crew in the months leading up to it. I even made a board with the astronauts’ faces collaged. I was eating a snack and watching on a gargantuan wooden console TV. Neither ever felt the same again. I wanted to go to space at that age. My dad, an engineer, had always explained the risks of innovation to me and that helped me process it. But it affected me deeply and still does.”\u003c/p>\n\u003cp>\u003cstrong>Diane Aguilar was aged 7 and in Pacifica:\u003c/strong>\u003c/p>\n\u003cp>“When the principal walked into the room, it looked like she had just seen a loved one dying. My class was so excited about the prospect of this shuttle mission and when we found out there were no survivors, it was like the wind was taken out of our sails. I also remember seeing the news footage of it on KGO later on when I was at home with my parents. We all watched that evening as Reagan delivered his eulogy to the nation.”\u003c/p>\n\u003cp>\u003cstrong>Sharon Penny was 10 and in Australia:\u003c/strong>\u003c/p>\n\u003cp>“I learned about it via a \u003ca href=\"https://www.nbc.com/punky-brewster/video/accidents-happen/3648405\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Punky Brewster\u003c/em> episode\u003c/a> that aired a few weeks after. The way they dealt with the tragedy for kids was really incredible and I think probably helped a lot of children process the disaster. They talked about it in a way that felt very respectful and I remember crying a lot. I still think about that episode, because I don’t think my parents really had the capacity to provide hope or reassurance in the face of something so bleak.” [aside postid='arts_13879768']\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Ian Campbell was 11 and in Newfoundland, Canada:\u003c/strong>\u003cbr>\n“My family visited the Kennedy Space Center in Cape Canaveral during the summer of 1986, just months after the Challenger disaster. I was a pretty imaginative little guy, fascinated with space travel and \u003cem>Star Wars\u003c/em>, and the vague promises of future technology. But I immediately picked up on the subdued, half-mast vibe. If memory serves, the place was only half-open—there were no tours available. You could wander the gift shop and look at a handful of exhibits in the front lobby. I remember one was a framed collection of hand-drawn cards from schoolkids across the US. The cards all seemed to communicate the same idea. ‘We’re sorry. But don’t give up on the dream.'”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the morning of Jan. 28, 1986, households and classrooms across America excitedly awaited the launch of the Space Shuttle Challenger. The much-hyped mission was particularly notable for its team of unusually relatable astronauts—in particular, schoolteacher Christa McAuliffe. When the shuttle exploded 73 seconds after takeoff, it prompted an outpouring of grief that few who lived through it will ever forget.\u003c/p>\n\u003cp>For many, the accident was a wound to America during a time of historically high levels of patriotic confidence. In an address to the nation after the accident, President Ronald Reagan imbued his tribute with the nobility and higher calling that the nation had already come to associate with the astronauts. “We will never forget them,” he said. “Nor the last time we saw them this morning, as they prepared for the journey, and waved goodbye, and slipped the surly bonds of Earth to touch the face of God.”\u003c/p>\n\u003cp>The tragedy was found later to be caused by the failure of O-ring seals in the right solid rocket booster. After the accident, the shuttle program was suspended for almost three years.\u003c/p>\n\u003cp>For new generations living in a post 9/11 world, it can sometimes be difficult to comprehend the sheer emotional impact that the Challenger disaster had—not just on America, but internationally as well. Last September, Netflix and executive producer J.J. Abrams delved into the disaster and its impact with a four-part documentary series, \u003cem>Challenger: The Final Flight\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ILAeVAgqFV4'\n title='//www.youtube.com/embed/ILAeVAgqFV4'\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>\u003cstrong>Paul Cox was 12 and in Huntsville, Alabama:\u003c/strong>\u003c/p>\n\u003cp>“I was home with a pretty significant case of chicken pox. I remember my mom coming into my room crying. The next few months were really tense, because my dad was one of the thousands of aerospace engineers who worked on the shuttle. Specifically, he worked on the solid rocket boosters. When it was officially blamed on a bad O-ring there was much relief, because that was the domain of an entirely different company than the one he worked for. But I’ve never really talked with him about that time as an adult. I imagine he was sick with guilt for weeks and weeks.”\u003c/p>\n\u003cp>\u003cstrong>Erika Skinner was 8 and in Ellicottville, New York:\u003c/strong>\u003c/p>\n\u003cp>“My class watched it live. Our teacher quietly turned off the TV and we didn’t discuss it. It was bewildering. I want to say we eventually talked about it. Maybe the following day? But in the immediate aftermath I think all the adults were so shocked and unprepared that they just went through the motions for the rest of the day. Everyone just went numb. I remember thinking that because no one was making a big deal out of it that maybe I imagined what I saw. That maybe I misunderstood it and that’s just what it looks like when a shuttle is launched and everyone is fine.”\u003c/p>\n\u003cp>\u003cstrong>Emily Chaney was 9 and in Denver:\u003c/strong>\u003c/p>\n\u003cp>“I remember the quiet that took over the room. The TV being switched off. One of those ones on wheels. I remember teachers crying.”\u003c/p>\n\u003cp>\u003cstrong>Chaki Sklar was aged 6 and in Van Nuys:\u003c/strong>\u003c/p>\n\u003cp>“When the teacher started crying it was like a domino effect where the rest of us started crying too. I remember we were just hugging each other weeping and weeping and weeping.”\u003c/p>\n\u003cp>\u003cstrong>Kyra Rehn was aged 7 and in rural Illinois:\u003c/strong>\u003c/p>\n\u003cp>“I had pretended to be sick so I could skip school and watch while my parents were at work. I had made every one of my extra-credit art projects about the crew in the months leading up to it. I even made a board with the astronauts’ faces collaged. I was eating a snack and watching on a gargantuan wooden console TV. Neither ever felt the same again. I wanted to go to space at that age. My dad, an engineer, had always explained the risks of innovation to me and that helped me process it. But it affected me deeply and still does.”\u003c/p>\n\u003cp>\u003cstrong>Diane Aguilar was aged 7 and in Pacifica:\u003c/strong>\u003c/p>\n\u003cp>“When the principal walked into the room, it looked like she had just seen a loved one dying. My class was so excited about the prospect of this shuttle mission and when we found out there were no survivors, it was like the wind was taken out of our sails. I also remember seeing the news footage of it on KGO later on when I was at home with my parents. We all watched that evening as Reagan delivered his eulogy to the nation.”\u003c/p>\n\u003cp>\u003cstrong>Sharon Penny was 10 and in Australia:\u003c/strong>\u003c/p>\n\u003cp>“I learned about it via a \u003ca href=\"https://www.nbc.com/punky-brewster/video/accidents-happen/3648405\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Punky Brewster\u003c/em> episode\u003c/a> that aired a few weeks after. The way they dealt with the tragedy for kids was really incredible and I think probably helped a lot of children process the disaster. They talked about it in a way that felt very respectful and I remember crying a lot. I still think about that episode, because I don’t think my parents really had the capacity to provide hope or reassurance in the face of something so bleak.” \u003c/p>\u003c/div>",
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"content": "\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82",
"headTitle": "‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82 | KQED",
"content": "\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Woke’ Cartoonist Keith Knight Wrote His Own Path to Hollywood",
"headTitle": "‘Woke’ Cartoonist Keith Knight Wrote His Own Path to Hollywood | KQED",
"content": "\u003cp>Keith Knight’s path to success hasn’t just been a road less traveled, his was a road designed by \u003ca href=\"https://mcescher.com/gallery/impossible-constructions/#iLightbox%5Bgallery_image_1%5D/1\" target=\"_blank\" rel=\"noopener noreferrer\">M. C. Escher\u003c/a>, full of inconceivable twists and turns, trolls under bridges, Sphinx riddles and flaming hoops. I can count the number of American indie cartoonists who have had their work turned into a live action television series on one hand. And I can count the number of Black American indie cartoonists who have had their work turned into a live action television series on one finger.\u003c/p>\n\u003cp>Premiering on Hulu Sept. 9, \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Woke\u003c/i>\u003c/a> is an eight-episode comedy series loosely based on \u003ca href=\"http://www.kchronicles.com/k-chronicles.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The K Chronicles\u003c/i>\u003c/a>, Knight’s long-running and politically charged autobiographical comic strip. The show follows Keef Knight, a “don’t make waves” apolitical San Francisco cartoonist who is on the verge of commercial success with his family-friendly comic strip. But when he suffers a traumatic event involving the SFPD, it “opens his third eye,” causing a spiritual and political awakening (as well as a public meltdown), that forces him to take his life in a new direction.\u003c/p>\n\u003cp>If you were part of the underground art scene in San Francisco in the 1990s or 2000s, you may have encountered Knight around town, hanging flyers for his hip hop/garage band \u003ca href=\"http://magnatune.com/artists/marginal_prophets/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marginal Prophets\u003c/a> or in a coffee shop drawing a new installment of his daily strip. He originally intended to move to San Francisco for just five years before heading to L.A. to seek his fortune. But, Knight tells me, once he arrived in the Bay Area, “San Francisco was so cool and so special, I stayed for 17 years.”\u003c/p>\n\u003cp>To be an artist in San Francisco in those years was to be part of a symbiotic organism; opportunities to share his work were plentiful. He could walk into \u003ca href=\"https://www.berkeleyside.com/2010/12/17/berkeleys-comic-relief-sturggles-after-founders-death\" target=\"_blank\" rel=\"noopener noreferrer\">Comic Relief\u003c/a> on Haight Street and sell his zine before wandering down to the Mission to set up a show at the Chameleon. Around every corner lurked promises of a wild warehouse party or an illicit house show.\u003c/p>\n\u003cp>“I felt like it was like my graduate school,” Knight remembers. “This was when I discovered underground cartooning and realized you didn’t have to have that format of a daily cartoon. You could have a longer series of panels like Matt Groening’s \u003ci>Life In Hell\u003c/i> and you could talk about politics and drugs and sex. I loved it.”\u003c/p>\n\u003cfigure id=\"attachment_13885898\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg\" alt=\"Keith Knight on the set of 'Woke'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight on the set of ‘Woke.’ \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though he fell hard for his adopted home, he never lost sight of his original vision of adapting his comics for the big screen. Eventually, he realized he’d stayed too long at the fair. “I was in a rent-controlled apartment, and I was sitting there going, ‘Do I want to be here 20 years from now just because my rent is so cheap?’ I just don’t want to be that guy going, ‘This place used to be so cool before this and that happened.’ So I got out while the getting was good.”\u003c/p>\n\u003cp>In 2007, he pulled up stakes and made his way to L.A. to seek out a development deal. His gregarious nature and habit of working in cafes soon led to meeting a host of producers and other collaborators who believed in his vision. And though his networking skills were key, it didn’t hurt that he also had a massive collection of ideas and stories prepared as a result of drawing a daily strip for decades. \u003c/p>\n\u003cp>He even turned his enormous 500-page comics anthology \u003ci>The Complete K Chronicles\u003c/i> into a theatrical prop that he would lug with him to pitch meetings. “When the meeting was wrapping up,” he recounts, “I would pull that book out, chuck it up the air and have it slam in the middle of the table—this thing was like the size of a phone book—I’d slam it down and then as I was walking out I would say, ‘There’s your first 10 seasons.’” Hulu executive Rob Gati later told him he would always remember that move. It sold the show.\u003c/p>\n\u003cfigure id=\"attachment_13885926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/WOKE_sm.jpg\" alt=\"Lamorne Morris\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keef (Lamorne Morris) gets real with his marker. \u003ccite>(Michael Courtney/Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers took some risks with \u003ci>Woke\u003c/i>—one of which is using a mix of live action and animation. When I first heard about this aesthetic decision I felt a sinking feeling of dread. With few exceptions, this particular hybrid has a bad track record of being corny, see \u003ci>Out of Jimmy’s Head\u003c/i> (never heard of it? There’s a reason for that) or the recent Chris Meloni alcoholic cop series \u003ci>Happy!\u003c/i> \u003c/p>\n\u003cp>But \u003ci>Woke\u003c/i> escapes this cursed legacy by using animation as a storytelling tool rather than a novelty. When inanimate objects begin speaking to Keef, the special and practical effects are crafted to make them look like they’re an organic extension of this world. The magical realism is used sparingly; it enhances the disorienting experience of his political awakening rather than creating a narrative stumbling block. “We didn’t want it to be a buddy show with Keef and his marker hanging out,” Knight explains. “We wanted the animation to manifest itself when you least expected it. I wanted it to be like \u003ci>The Sixth Sense\u003c/i> when you didn’t know where the next ghost was coming from.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show attracted major talent, both behind and in front of the camera, including Lamorne Morris (\u003cem>New Girl\u003c/em>), Blake Anderson (\u003cem>Workaholics\u003c/em>), Sasheer Zamata (\u003cem>Saturday Night Live\u003c/em>), director Mo Marable, writer Marshall Todd (\u003cem>Barbershop\u003c/em>), and voice-over cameos from the likes of J. B. Smoove, Nicole Byer, Tony Hale, Cree Summer and Cedric the Entertainer. \u003c/p>\n\u003cp>Hiring a diverse cast and crew, particularly in the writer’s room, contributed to crafting a cohesive vision for \u003cem>Woke\u003c/em>. “I’d heard horror stories of being the only Black writer in the room,” Knight tells me. “It really helped not being in a room full of white people that you have to convince that this [racist] stuff happens.”\u003c/p>\n\u003cfigure id=\"attachment_13885901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keith3-800x600.jpeg\" alt=\"Keith Knight in a koala suit with Blake Anderson\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight with Blake Anderson on the set of ‘Woke.’ Keith makes a secret cameo as Kubby the Koala. \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knight’s own experience of being racially profiled by the SFPD is the catalyst for the series. Just as it transpires in the pilot episode, Knight was stapling a flyer to a pole near Golden Gate Park when he was accosted by first one and then a dozen police officers for “fitting the description of a suspect” (a.k.a. being Black). Unlike his character, Knight was already politically active when this happened, although he never expected it to happen in “the Bohemian bubble of San Francisco.” \u003c/p>\n\u003cp>It inspired him to double and triple down on the work he was already doing to call out racism and police brutality in America, efforts that ultimately led to his book \u003ca href=\"https://medium.com/the-nib/they-shoot-black-people-dont-they-a5d00c790842\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>They Shoot Black People, Don’t They?\u003c/i>\u003c/a> and the anti-racist slideshow that he tours with today. The slideshow has become his version of therapy. “I don’t like arguing with people over the internet, no one should do that, it sucks, it’s what’s destroying this country,” he says. “But I love engaging people in person.”\u003c/p>\n\u003cp>In tracing Knight’s path to Hollywood, one has to understand that being an indie cartoonist is a) grueling, and b) not lucrative. Making a daily strip for decades with little compensation is not for the faint of heart. It not only requires artistic and storytelling chops, but also constant hustling and some degree of luck. Most cartoonists inevitably throw in the towel and get a day job. So what’s the secret to Knight’s longevity?\u003c/p>\n\u003cp>“Well, at some point, you realize that you’re so far in, you can’t pivot any more. It’s all I know,” he says. “But it’s also because I knew what I was doing. I knew I was creating my own niche. I knew no one else was doing what I was doing and at some point, I’m going to become \u003cem>that\u003c/em> guy that everyone comes to. I always knew that my stuff would be developed for something, but I thought it would be some sleazy indie film out of Reno.”\u003c/p>\n\u003cp>“I had no idea it would be this amazing: a show on Hulu, with the guy from \u003cem>New Girl\u003c/em> and a guy from \u003cem>Workaholics\u003c/em> and all of this amazing voice talent, and billboards in Times Square. I never could have dreamed this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Woke’ premieres on \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a> at 9pm EDT, Tuesday, Sept. 8.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Keith Knight’s path to success hasn’t just been a road less traveled, his was a road designed by \u003ca href=\"https://mcescher.com/gallery/impossible-constructions/#iLightbox%5Bgallery_image_1%5D/1\" target=\"_blank\" rel=\"noopener noreferrer\">M. C. Escher\u003c/a>, full of inconceivable twists and turns, trolls under bridges, Sphinx riddles and flaming hoops. I can count the number of American indie cartoonists who have had their work turned into a live action television series on one hand. And I can count the number of Black American indie cartoonists who have had their work turned into a live action television series on one finger.\u003c/p>\n\u003cp>Premiering on Hulu Sept. 9, \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Woke\u003c/i>\u003c/a> is an eight-episode comedy series loosely based on \u003ca href=\"http://www.kchronicles.com/k-chronicles.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The K Chronicles\u003c/i>\u003c/a>, Knight’s long-running and politically charged autobiographical comic strip. The show follows Keef Knight, a “don’t make waves” apolitical San Francisco cartoonist who is on the verge of commercial success with his family-friendly comic strip. But when he suffers a traumatic event involving the SFPD, it “opens his third eye,” causing a spiritual and political awakening (as well as a public meltdown), that forces him to take his life in a new direction.\u003c/p>\n\u003cp>If you were part of the underground art scene in San Francisco in the 1990s or 2000s, you may have encountered Knight around town, hanging flyers for his hip hop/garage band \u003ca href=\"http://magnatune.com/artists/marginal_prophets/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marginal Prophets\u003c/a> or in a coffee shop drawing a new installment of his daily strip. He originally intended to move to San Francisco for just five years before heading to L.A. to seek his fortune. But, Knight tells me, once he arrived in the Bay Area, “San Francisco was so cool and so special, I stayed for 17 years.”\u003c/p>\n\u003cp>To be an artist in San Francisco in those years was to be part of a symbiotic organism; opportunities to share his work were plentiful. He could walk into \u003ca href=\"https://www.berkeleyside.com/2010/12/17/berkeleys-comic-relief-sturggles-after-founders-death\" target=\"_blank\" rel=\"noopener noreferrer\">Comic Relief\u003c/a> on Haight Street and sell his zine before wandering down to the Mission to set up a show at the Chameleon. Around every corner lurked promises of a wild warehouse party or an illicit house show.\u003c/p>\n\u003cp>“I felt like it was like my graduate school,” Knight remembers. “This was when I discovered underground cartooning and realized you didn’t have to have that format of a daily cartoon. You could have a longer series of panels like Matt Groening’s \u003ci>Life In Hell\u003c/i> and you could talk about politics and drugs and sex. I loved it.”\u003c/p>\n\u003cfigure id=\"attachment_13885898\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg\" alt=\"Keith Knight on the set of 'Woke'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight on the set of ‘Woke.’ \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though he fell hard for his adopted home, he never lost sight of his original vision of adapting his comics for the big screen. Eventually, he realized he’d stayed too long at the fair. “I was in a rent-controlled apartment, and I was sitting there going, ‘Do I want to be here 20 years from now just because my rent is so cheap?’ I just don’t want to be that guy going, ‘This place used to be so cool before this and that happened.’ So I got out while the getting was good.”\u003c/p>\n\u003cp>In 2007, he pulled up stakes and made his way to L.A. to seek out a development deal. His gregarious nature and habit of working in cafes soon led to meeting a host of producers and other collaborators who believed in his vision. And though his networking skills were key, it didn’t hurt that he also had a massive collection of ideas and stories prepared as a result of drawing a daily strip for decades. \u003c/p>\n\u003cp>He even turned his enormous 500-page comics anthology \u003ci>The Complete K Chronicles\u003c/i> into a theatrical prop that he would lug with him to pitch meetings. “When the meeting was wrapping up,” he recounts, “I would pull that book out, chuck it up the air and have it slam in the middle of the table—this thing was like the size of a phone book—I’d slam it down and then as I was walking out I would say, ‘There’s your first 10 seasons.’” Hulu executive Rob Gati later told him he would always remember that move. It sold the show.\u003c/p>\n\u003cfigure id=\"attachment_13885926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/WOKE_sm.jpg\" alt=\"Lamorne Morris\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keef (Lamorne Morris) gets real with his marker. \u003ccite>(Michael Courtney/Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers took some risks with \u003ci>Woke\u003c/i>—one of which is using a mix of live action and animation. When I first heard about this aesthetic decision I felt a sinking feeling of dread. With few exceptions, this particular hybrid has a bad track record of being corny, see \u003ci>Out of Jimmy’s Head\u003c/i> (never heard of it? There’s a reason for that) or the recent Chris Meloni alcoholic cop series \u003ci>Happy!\u003c/i> \u003c/p>\n\u003cp>But \u003ci>Woke\u003c/i> escapes this cursed legacy by using animation as a storytelling tool rather than a novelty. When inanimate objects begin speaking to Keef, the special and practical effects are crafted to make them look like they’re an organic extension of this world. The magical realism is used sparingly; it enhances the disorienting experience of his political awakening rather than creating a narrative stumbling block. “We didn’t want it to be a buddy show with Keef and his marker hanging out,” Knight explains. “We wanted the animation to manifest itself when you least expected it. I wanted it to be like \u003ci>The Sixth Sense\u003c/i> when you didn’t know where the next ghost was coming from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show attracted major talent, both behind and in front of the camera, including Lamorne Morris (\u003cem>New Girl\u003c/em>), Blake Anderson (\u003cem>Workaholics\u003c/em>), Sasheer Zamata (\u003cem>Saturday Night Live\u003c/em>), director Mo Marable, writer Marshall Todd (\u003cem>Barbershop\u003c/em>), and voice-over cameos from the likes of J. B. Smoove, Nicole Byer, Tony Hale, Cree Summer and Cedric the Entertainer. \u003c/p>\n\u003cp>Hiring a diverse cast and crew, particularly in the writer’s room, contributed to crafting a cohesive vision for \u003cem>Woke\u003c/em>. “I’d heard horror stories of being the only Black writer in the room,” Knight tells me. “It really helped not being in a room full of white people that you have to convince that this [racist] stuff happens.”\u003c/p>\n\u003cfigure id=\"attachment_13885901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keith3-800x600.jpeg\" alt=\"Keith Knight in a koala suit with Blake Anderson\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight with Blake Anderson on the set of ‘Woke.’ Keith makes a secret cameo as Kubby the Koala. \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knight’s own experience of being racially profiled by the SFPD is the catalyst for the series. Just as it transpires in the pilot episode, Knight was stapling a flyer to a pole near Golden Gate Park when he was accosted by first one and then a dozen police officers for “fitting the description of a suspect” (a.k.a. being Black). Unlike his character, Knight was already politically active when this happened, although he never expected it to happen in “the Bohemian bubble of San Francisco.” \u003c/p>\n\u003cp>It inspired him to double and triple down on the work he was already doing to call out racism and police brutality in America, efforts that ultimately led to his book \u003ca href=\"https://medium.com/the-nib/they-shoot-black-people-dont-they-a5d00c790842\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>They Shoot Black People, Don’t They?\u003c/i>\u003c/a> and the anti-racist slideshow that he tours with today. The slideshow has become his version of therapy. “I don’t like arguing with people over the internet, no one should do that, it sucks, it’s what’s destroying this country,” he says. “But I love engaging people in person.”\u003c/p>\n\u003cp>In tracing Knight’s path to Hollywood, one has to understand that being an indie cartoonist is a) grueling, and b) not lucrative. Making a daily strip for decades with little compensation is not for the faint of heart. It not only requires artistic and storytelling chops, but also constant hustling and some degree of luck. Most cartoonists inevitably throw in the towel and get a day job. So what’s the secret to Knight’s longevity?\u003c/p>\n\u003cp>“Well, at some point, you realize that you’re so far in, you can’t pivot any more. It’s all I know,” he says. “But it’s also because I knew what I was doing. I knew I was creating my own niche. I knew no one else was doing what I was doing and at some point, I’m going to become \u003cem>that\u003c/em> guy that everyone comes to. I always knew that my stuff would be developed for something, but I thought it would be some sleazy indie film out of Reno.”\u003c/p>\n\u003cp>“I had no idea it would be this amazing: a show on Hulu, with the guy from \u003cem>New Girl\u003c/em> and a guy from \u003cem>Workaholics\u003c/em> and all of this amazing voice talent, and billboards in Times Square. I never could have dreamed this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Woke’ premieres on \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a> at 9pm EDT, Tuesday, Sept. 8.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'America's Got Talent' Winners, V Unbeatable, Are Struggling in Lockdown",
"headTitle": "‘America’s Got Talent’ Winners, V Unbeatable, Are Struggling in Lockdown | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>V Unbeatable is a Mumbai-based acrobatic dance troupe whose members range in age from 12 to 28 and come from the city’s slums. \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/18/834284156/dancing-their-way-from-the-slums-of-mumbai-to-america-s-got-talent-trophy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>NPR wrote about them\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> after they won \u003c/em>\u003c/strong>\u003cstrong>America’s Got Talent: The Champions\u003c/strong>\u003cstrong>\u003cem> this February. They’d hoped the win would help improve the financial situation of their families and open doors to new opportunities. But the pandemic was declared just weeks after their triumphant return home. So what are they doing now?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The dancers were basking in the glory of their spectacular victory when India went under a strict coronavirus lockdown in late March. Daily rehearsals—where all two dozen would gather to practice acrobatic moves together—were suspended. The shows where they were scheduled to perform were canceled, so their source of income dried up. They couldn’t even celebrate properly, says the group’s 28-year-old choreographer Swapnil Bhoir.\u003c/p>\n\u003cp>“What was supposed to be the best time of our lives became the toughest time of our lives,” says Bhoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9aES5hKpoYo\u003c/p>\n\u003cp>India is recording around 80,000 fresh COVID-19 infections daily—the highest single-day tally in the world. Its total caseload of about 4 million cases is the third highest in the world behind the U.S. and Brazil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mumbai, India’s financial capital and the dancers’ hometown, has been hit particularly hard. The virus spread quickly through the city’s slums, where physical distancing is next to impossible and sanitation is scarce. Mumbai has \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/mybmc/status/1301181868566614016__;!!Iwwt!Gfoo5DbTYCjQ41sv_Aj9ghPK2T8MPPS576P_UWYXkaplPe1iUrwJ-zNhNyYP%24\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> nearly 150,000 confirmed COVID-19 cases and more than 7000 deaths as of 2 September.\u003c/p>\n\u003cp>Most of the dancers and their families have been confined to their cramped, mostly one-room homes in the slums of northern Mumbai. No one from the team has tested positive yet, says Bhoir.\u003c/p>\n\u003cp>The nationwide lockdown has now been partially eased but large gatherings are still banned and the dancers are not able to practice the human pyramids and group gymnastics that had wowed fans around the world. Suburban trains in Mumbai are also only running for essential workers so the dancers can’t travel for rehearsals.\u003c/p>\n\u003cp>Bhoir has spent the last few months fielding anxious calls from his younger teammates. “They keep asking me, when will things go back to normal? When can we start dancing again?” says Bhoir.\u003c/p>\n\u003cp>To keep them engaged, Bhoir and other senior members of the team have been giving the dancers weekly quizzes about the history of hip-hop. Some of them have been making and uploading \u003ca href=\"https://www.instagram.com/p/CBqSZDPAXmC/?igshid=1kim21e8uckg5\" target=\"_blank\" rel=\"noopener noreferrer\">short dance videos\u003c/a> on social media. It keeps them busy, says Bhoir, and hopefully away from negative thoughts.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBqSZDPAXmC/\u003c/p>\n\u003cp>Meanwhile, there’s plenty of reason for the dancers to worry. When India went under lockdown and shut down its economy, tens of millions of people lost their jobs. Poor day laborers—including many of the dancers’ parents—were hit the hardest.\u003c/p>\n\u003cp>“My father is a tailor and my mother sells snacks outside the railway station but because of the lockdown both of them have lost their jobs,” 17-year-old dancer Nikhil Patlekar says in a \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/v_unbeatable/status/1267122156233580551__;!!Iwwt!EvUmLdnGQH-iJnfxMFsPcJenPKkDKjpKK1EkJ1YGwAknE-X7dQaRoqMTO4zm%24\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> posted by the group in May. “My family’s situation is very bad.”\u003c/p>\n\u003cp>“My nights are sleepless, I cry. I’m scared that all our hard work over the years might go down the drain,” the group’s 28-year-old co-founder Om Prakash Chauhan says in the video.\u003c/p>\n\u003cp>One of the dancers, 18-year-old Suraj Soni, is selling vegetables on the streets of Mumbai to make ends meet. Others have moved back to their villages with their families.\u003c/p>\n\u003cp>“Even after becoming an international artist, there’s been no progress. It’s back to square one,” laments Bhoir.\u003c/p>\n\u003cp>V Unbeatable is no stranger to adversity. In 2015, one of their co-founders, Vikas Gupta, suffered a fatal accident while practicing a stunt. The dancers were devastated but refused to give up. They pay homage to Gupta whenever they perform. Their costumes have “Vikas” written on the back.\u003c/p>\n\u003cp>The group bounced back after that tragedy, and Bhoir is confident they’ll bounce back after this one too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You may win or achieve something great but that doesn’t mean your life is set,” says Bhoir. “Sometimes you have to start from zero again, and we’re prepared to do that.”\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+V+Unbeatable%2C+Mumbai+Dancers+Who+Won+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>V Unbeatable is a Mumbai-based acrobatic dance troupe whose members range in age from 12 to 28 and come from the city’s slums. \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/18/834284156/dancing-their-way-from-the-slums-of-mumbai-to-america-s-got-talent-trophy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>NPR wrote about them\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> after they won \u003c/em>\u003c/strong>\u003cstrong>America’s Got Talent: The Champions\u003c/strong>\u003cstrong>\u003cem> this February. They’d hoped the win would help improve the financial situation of their families and open doors to new opportunities. But the pandemic was declared just weeks after their triumphant return home. So what are they doing now?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The dancers were basking in the glory of their spectacular victory when India went under a strict coronavirus lockdown in late March. Daily rehearsals—where all two dozen would gather to practice acrobatic moves together—were suspended. The shows where they were scheduled to perform were canceled, so their source of income dried up. They couldn’t even celebrate properly, says the group’s 28-year-old choreographer Swapnil Bhoir.\u003c/p>\n\u003cp>“What was supposed to be the best time of our lives became the toughest time of our lives,” says Bhoir.\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/9aES5hKpoYo'\n title='//www.youtube.com/embed/9aES5hKpoYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>India is recording around 80,000 fresh COVID-19 infections daily—the highest single-day tally in the world. Its total caseload of about 4 million cases is the third highest in the world behind the U.S. and Brazil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mumbai, India’s financial capital and the dancers’ hometown, has been hit particularly hard. The virus spread quickly through the city’s slums, where physical distancing is next to impossible and sanitation is scarce. Mumbai has \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/mybmc/status/1301181868566614016__;!!Iwwt!Gfoo5DbTYCjQ41sv_Aj9ghPK2T8MPPS576P_UWYXkaplPe1iUrwJ-zNhNyYP%24\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> nearly 150,000 confirmed COVID-19 cases and more than 7000 deaths as of 2 September.\u003c/p>\n\u003cp>Most of the dancers and their families have been confined to their cramped, mostly one-room homes in the slums of northern Mumbai. No one from the team has tested positive yet, says Bhoir.\u003c/p>\n\u003cp>The nationwide lockdown has now been partially eased but large gatherings are still banned and the dancers are not able to practice the human pyramids and group gymnastics that had wowed fans around the world. Suburban trains in Mumbai are also only running for essential workers so the dancers can’t travel for rehearsals.\u003c/p>\n\u003cp>Bhoir has spent the last few months fielding anxious calls from his younger teammates. “They keep asking me, when will things go back to normal? When can we start dancing again?” says Bhoir.\u003c/p>\n\u003cp>To keep them engaged, Bhoir and other senior members of the team have been giving the dancers weekly quizzes about the history of hip-hop. Some of them have been making and uploading \u003ca href=\"https://www.instagram.com/p/CBqSZDPAXmC/?igshid=1kim21e8uckg5\" target=\"_blank\" rel=\"noopener noreferrer\">short dance videos\u003c/a> on social media. It keeps them busy, says Bhoir, and hopefully away from negative thoughts.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meanwhile, there’s plenty of reason for the dancers to worry. When India went under lockdown and shut down its economy, tens of millions of people lost their jobs. Poor day laborers—including many of the dancers’ parents—were hit the hardest.\u003c/p>\n\u003cp>“My father is a tailor and my mother sells snacks outside the railway station but because of the lockdown both of them have lost their jobs,” 17-year-old dancer Nikhil Patlekar says in a \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/v_unbeatable/status/1267122156233580551__;!!Iwwt!EvUmLdnGQH-iJnfxMFsPcJenPKkDKjpKK1EkJ1YGwAknE-X7dQaRoqMTO4zm%24\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> posted by the group in May. “My family’s situation is very bad.”\u003c/p>\n\u003cp>“My nights are sleepless, I cry. I’m scared that all our hard work over the years might go down the drain,” the group’s 28-year-old co-founder Om Prakash Chauhan says in the video.\u003c/p>\n\u003cp>One of the dancers, 18-year-old Suraj Soni, is selling vegetables on the streets of Mumbai to make ends meet. Others have moved back to their villages with their families.\u003c/p>\n\u003cp>“Even after becoming an international artist, there’s been no progress. It’s back to square one,” laments Bhoir.\u003c/p>\n\u003cp>V Unbeatable is no stranger to adversity. In 2015, one of their co-founders, Vikas Gupta, suffered a fatal accident while practicing a stunt. The dancers were devastated but refused to give up. They pay homage to Gupta whenever they perform. Their costumes have “Vikas” written on the back.\u003c/p>\n\u003cp>The group bounced back after that tragedy, and Bhoir is confident they’ll bounce back after this one too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You may win or achieve something great but that doesn’t mean your life is set,” says Bhoir. “Sometimes you have to start from zero again, and we’re prepared to do that.”\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+V+Unbeatable%2C+Mumbai+Dancers+Who+Won+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Class Action Park' Remembers the Perils of a Really Good Time",
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"content": "\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mqg48h_uKYM\u003c/p>\n\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\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/mqg48h_uKYM'\n title='//www.youtube.com/embed/mqg48h_uKYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sterling K. Brown: Black Actors Have Waited 'A Long Time to Be Fully Recognized'",
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"content": "\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. [aside postid='pop_107915']\u003c/p>\n\u003cp>As Reggie explains his reasons in an emotional speech, tears well up in his eyes. His language is rough, but his eyes reveal something more: He’s feeling guilty and defensive.\u003c/p>\n\u003cp>Or look at his work on NBC’s hit drama \u003cem>This Is Us\u003c/em>, where Brown plays tightly wound Randall Pearson, a Black man adopted by a white family. In a scene with his adoptive mother that Brown says was one of his most challenging this past season, Randall uses his status as a good son—and the fact that he forgave her for hiding the identity of his biological father—to pressure her into enrolling in an Alzheimer’s clinical trial she has resisted joining.\u003c/p>\n\u003cp>Again, Brown’s eyes reveal a lot: the reluctance to manipulate someone he loves—and the resolve to push her into doing something that might save her life. A tear rolled down his face as punctuation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. [aside postid='pop_102572']\u003c/p>\n\u003cp>Ask how he’s coping amid all the discussions on race kicked off by the killing by police of Black people like George Floyd and Breonna Taylor and Brown hesitates—repeating the question a few times while recalling an emotional discussion he had on the Tulsa race massacre with his 9-year-old son.\u003c/p>\n\u003cp>“How do I feel? I feel like it’s 2020 and a lot of the conversations that we’ve had historically are still as present,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sterling+K.+Brown%3A+Black+Actors+Have+Waited+%27A+Long+Time+To+Be+Fully+Recognized%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Reggie explains his reasons in an emotional speech, tears well up in his eyes. His language is rough, but his eyes reveal something more: He’s feeling guilty and defensive.\u003c/p>\n\u003cp>Or look at his work on NBC’s hit drama \u003cem>This Is Us\u003c/em>, where Brown plays tightly wound Randall Pearson, a Black man adopted by a white family. In a scene with his adoptive mother that Brown says was one of his most challenging this past season, Randall uses his status as a good son—and the fact that he forgave her for hiding the identity of his biological father—to pressure her into enrolling in an Alzheimer’s clinical trial she has resisted joining.\u003c/p>\n\u003cp>Again, Brown’s eyes reveal a lot: the reluctance to manipulate someone he loves—and the resolve to push her into doing something that might save her life. A tear rolled down his face as punctuation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sterling+K.+Brown%3A+Black+Actors+Have+Waited+%27A+Long+Time+To+Be+Fully+Recognized%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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