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"content": "\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98",
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"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\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/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Past Isn't Done With Us,' Says 'Hamilton' Creator Lin-Manuel Miranda",
"headTitle": "‘The Past Isn’t Done With Us,’ Says ‘Hamilton’ Creator Lin-Manuel Miranda | KQED",
"content": "\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jenny Slate and Kristen Bell Will Stop Playing Biracial Cartoon Characters",
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"content": "\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tu1ZpF0bzMg\u003c/p>\n\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpzEIrtBzTM\u003c/p>\n\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\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=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&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>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\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/xpzEIrtBzTM'\n title='//www.youtube.com/embed/xpzEIrtBzTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\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=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Search Party' Season 3: Jerks Brought to Justice",
"headTitle": "‘Search Party’ Season 3: Jerks Brought to Justice | KQED",
"content": "\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This review contains spoilers for the first two seasons of \u003c/strong>\u003cem>\u003cstrong>Search Party.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>“What does this mean for \u003cem>ME\u003c/em>?”\u003c/p>\n\u003cp>That’s \u003cem>Search Part\u003c/em>y’s text—as in, a line of dialogue that crops up several times, in different characters’ mouths—and its pervasive subtext. Because the true subject of the series, which began life on TBS but returns for a third season on HBO Max today, is self-important, self-involved, self-justifying selfishness.\u003c/p>\n\u003cp>You might not have guessed that, if you remember the pilot (the first two seasons are now available to stream on HBO Max). When\u003cem> Search Party\u003c/em> started, its main character Dory (Alia Shawkat) seemed to lack any sense of self at all—she was meek, passive and directionless, unable to fix on an identity, or a purpose. Which was probably why she threw herself so vehemently into a quest: To search for Chantal (Clare McNulty), a college acquaintance who’d gone missing.\u003c/p>\n\u003cp>Dory’s self-appointed mission quickly galvanized her; she gained the strength of will to pull her friends into the case: weak-willed worm of a boyfriend Drew (John Reynolds), would-be actress Portia (Meredith Hagner) and blithely mendacious Elliott (John Early).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They made for an obnoxious, morally bankrupt crew as their search for Chantal over the first season brought them in contact—and ultimately conflict—with a private investigator (Ron Livingston), who … didn’t make it to season two.\u003c/p>\n\u003cp>\u003cem>Search Party\u003c/em> is a caustic series about bad people, and what negative reviews it received tended to belong to the familiar “Why Should I Care?” School of Criticism, which holds that such repellent, immoral, irredeemable characters are not worthy of our attention.\u003c/p>\n\u003cp>Which: Okay. Comedy lands on different people in different ways, but I would point out (as I have before) how careful the creators of \u003cem>Search Party\u003c/em> are to situate these jerks within a strictly moral universe. Their selfishness is constantly undercut and interrogated by the world around them, and even, occasionally, by one another. \u003cem>Search Party\u003c/em> knows full well that these characters are ghastly human beings, so it forces them—in brief, fleeting moments, admittedly—to realize this themselves.\u003c/p>\n\u003cp>But if you’ve watched this show’s first two seasons while feeling in your chest a nagging ache for these four entitled schmucks to get what’s coming to them, welcome to Season 3.\u003c/p>\n\u003cp>The show’s first two seasons each were built around a clear narrative backbone: Season 1 was a comic mystery that ended with a dead body, Season 2 turned into a darkly funny suspense thriller, as the four sweated over the possibility that the truth would come out.\u003c/p>\n\u003cp>Season 3 is built around Dory and Drew’s trial for murder, a familiar, sturdy narrative arc that allows for two outstanding additions to the series’ cast. The great Michaela Watkins, who can add thick layers of character backstory with every muttered aside, gets a star turn as a sardonic federal prosecutor. Shalita Grant, as Dory’s defense lawyer, takes a character who at first risks coming off as a one-joke, superficial millennial and invests her with hilarious depth and intelligence.\u003c/p>\n\u003cp>Which is not to say that the main cast is cooling their heels. Hagner’s Portia gets to do a bit of soul-searching (it’s more a soul-glancing), Early’s Elliott gets brought low in a way he’s long deserved, and Reynolds’ Drew starts to grow a rudimentary spine.\u003c/p>\n\u003cp>But it’s Shawkat, as once-compliant Dory, who gets the most to do. The events of the past two seasons have changed her. She’s grown stronger, more assertive, more confident.\u003c/p>\n\u003cp>And also?\u003c/p>\n\u003cp>Not for nothing?\u003c/p>\n\u003cp>More evil.\u003c/p>\n\u003cp>Shawkat slow-walks this transformation over the course of the season: As Dory’s trial turns her into a media celebrity (“I wish her the worst and hope it comes true!” asserts one mock juror surveyed by her defense team), we watch her processing every new development with shrewd discernment, gauging how best to manipulate those around her.\u003c/p>\n\u003cp>And when those around her, in roles large and small, include such standouts of the NYC/LA comedy scene as Joel Kim Booster, Cole Escola, Jeffery Self, Jordan Firstman, Chloe Fineman, Drew Droege and Sam Pancake among many others, the jokes fly fast and land true.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>HBO Max ordered a fourth season of \u003cem>Search Party\u003c/em> when it picked the show up, so this season closes on a cliffhanger. Whether Dory and co. ever find redemption—or even bother to seek it out—seems doubtful. But it promises to be a hell of a lot of fun to watch them getting punished along the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Search+Party%27+Season+3%3A+Jerks+Brought+To+Justice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” [aside postid='arts_13881748']\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\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=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Gone With The Wind \u003c/em>has returned to the streaming service HBO Max after it \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873716494/hbo-max-shelves-gone-with-the-wind-temporarily-for-racial-prejudices\" target=\"_blank\" rel=\"noopener noreferrer\">was removed\u003c/a> earlier this month because of its benign portrayal of American slavery. The film now features a new introduction by film scholar and Turner Classic Movies host Jacqueline Stewart.\u003c/p>\n\u003cp>In the introduction, Stewart addresses the film’s problematic depiction of the Antebellum South.\u003c/p>\n\u003cp>“Eighty years after its initial release, \u003cem>Gone With the Wind\u003c/em> is a film of undeniable cultural significance,” she says. “It is not only a major document of Hollywood’s racist practices of the past but also an enduring work of popular culture that speaks directly to the racial inequalities that persist in media and society today.”\u003c/p>\n\u003cp>Stewart adds that the film depicts a “world of grace and beauty, without acknowledging the brutalities of the system of chattel slavery upon which this world is based.”\u003c/p>\n\u003cp>The streaming service also added two companion videos along with the return of the film. One video features a panel discussion on the film’s controversial legacy and another provides more information about Hattie McDaniel, who in 1940 became the first African American to win an Oscar for her portrayal of the enslaved “Mammy.”\u003c/p>\n\u003cfigure id=\"attachment_13882564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg\" alt=\"Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in 'Gone With the Wind.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/hattie-mcdaniel-abd64f4017d01cf1c51018280ea644e1b9b92418-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles school children attend a ceremony unveiling a commemorative U.S. Postal Service stamp for actor Hattie McDaniel in 2006, in Beverly Hills, Calif. McDaniel, also a singer, radio and television personality, was the first African American to win an Oscar, for her portrayal of Mammy in ‘Gone With the Wind.’\u003c/figcaption>\u003c/figure>\n\u003cp>The 1939 film has long been the subject of criticism, with some saying it portrayed the Confederacy with sentimentality and fondness. Recent protests for racial justice sparked by the police killing of George Floyd renewed these concerns. Screenwriter, producer and director John Ridley wrote an op-ed for the \u003ca href=\"https://www.latimes.com/opinion/story/2020-06-08/hbo-max-racism-gone-with-the-wind-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Los Angeles Times\u003c/em>\u003c/a> earlier this month calling on HBO Max to remove \u003cem>Gone With the Wind \u003c/em>from its library.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The movie had the very best talents in Hollywood at that time working together to sentimentalize a history that never was,” Ridley wrote. “And it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of ‘heritage, not hate.’ ”\u003c/p>\n\u003cp>A spokesperson for the streaming service told \u003cem>NPR\u003c/em> in a statement at the time of the film’s removal that the “racist depictions” in the film were “wrong then and wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spokesperson added that aside from the new introduction, the movie itself would not be altered once it returned, “because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stewart reiterated those sentiments in her introduction, acknowledging that while watching \u003cem>Gone With The Wind \u003c/em>and other classic films could be uncomfortable or painful, the films should be available in their original form to “invite viewers to reflect on their own beliefs when watching them now.”\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=%27Gone+With+The+Wind%27+Returns+To+HBO+Max+With+New+Introduction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hovering in the Closet Doorway: 'Love, Victor'",
"headTitle": "Hovering in the Closet Doorway: ‘Love, Victor’ | KQED",
"content": "\u003cp>The main impression left by 2018’s pat, polished and inoffensive gay-teen rom-com \u003cem>Love, Simon \u003c/em>was how consummately unqueer it presented. Sure, its protagonist, Simon, struggled with his sexual identity, but he did so from inside thick layers of privilege that kept him safe, like a suit of bougie, masc-for-masc chain mail. He was white, he lived in a tony Atlanta suburb with his liberal, warm, wet-eyed parents—he could and did easily pass for straight.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ykHeGtN4m94\u003c/p>\n\u003cp>At least the film acknowledged, indirectly, that Simon’s life in his roomy, well-appointed closet was a luxury unavailable to many queer teens. Simon confessed to us that his decision not to come out was rooted in fear—but not, as it is for millions of queer kids, out of fear for his physical, emotional or financial safety, or even fear that he’d be rejected by friends and family. No, he was simply worried that his cushy suburban idyll would, in some way, change.\u003c/p>\n\u003cp>That’s why, though it was packaged as a chance for LGBTQ+ kids to finally see themselves on screen in a mainstream love story, the film’s low-stakes, normcore sensibility, to say nothing of its tendency to patiently explain aspects of gay life that wouldn’t need explaining to any gay kid with a laptop, felt as if they were pitched squarely (heh) at straights.\u003c/p>\n\u003cp>Enter: \u003cem>Love, Victor\u003c/em>, Hulu’s follow-up series, in which the film’s writers get a chance to course-correct. And in the pilot’s opening minutes, the series espouses a mission statement that engages with the film’s limitations in a way that seems promising.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fifteen-year-old Victor Salazar (Michael Cimino) has just moved from Texas to the same Atlanta suburb featured in the film, to attend the same high school Simon did. But Victor and his family are Colombian American. His parents have to work harder than Simon’s—both to make ends meet and to make their marriage work. They are conservative and religious.\u003c/p>\n\u003cp>All of this signals an opportunity to grapple with thornier, more substantive conflicts related to coming out than Simon ever faced. And the series’s framing device—a series of texts between Victor and Simon (voiced by the film’s Nick Robinson)—kicks off promisingly, with Victor angrily calling Simon out on his privilege.\u003c/p>\n\u003cp>But while the specifics of Victor’s family life continue to imbue the series with a more lived-in texture than the film managed to achieve, the writing soon—too soon—adopts the restrained tone of the movie. Victor’s high school friends slot neatly into types—the eccentric pal (Anthony Turpel), the popular rich girl (Rachel Hilson), her friend who speaks in a stream of just-past-their-sell-by-date pop-culture references (Bebe Wood), the arrogant jock (Mason Gooding). All are given room to deepen/complicate, which they do by hitting all the familiar stations of the teen rom-com cross: house party, love triangle, school dance, etc.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uh-IaEaEdE0\u003c/p>\n\u003cp>Like Simon before him, Victor seems woefully naive in ways that allow him to serve as a proxy for straight viewers.\u003c/p>\n\u003cp>But just … \u003cem>deeply \u003c/em>sheltered straight viewers.\u003c/p>\n\u003cp>How else to explain, in this the year of our Lord 2020, his shocked disbelief in a late-season episode that \u003cem>Wait, there are gay … athletes?\u003c/em>\u003c/p>\n\u003cp>It’s a moment that, had \u003cem>Love, Victor\u003c/em> retained the convictions evinced in the pilot, might allow the series to address something real, in a spiky way: Victor’s very evident internalized homophobia. To queer kids like Victor who can pass for straight, the guardedness they carry isn’t quickly or easily dropped. It curdles all too readily into toxic behavior—disdaining, or performatively lashing out at, kids whose queerness can’t be as conveniently hidden; paranoia that their secret will come out before they can; a festering self-hatred that fuels thoughts of self-harm.\u003c/p>\n\u003cp>Instead, we just see Victor get a bit rattled around the queer people he meets. There’s a nugget of truth, there—just as there’s something intriguing about Victor’s romantic relationship with popular girl Mia. The show pays lip service to the notion that Victor may be bisexual or nonbinary without ever truly engaging with it, because the story it seeks to tell is a more familiar one altogether.\u003c/p>\n\u003cp>There’s a winsome, pillow-lipped hottie for Simon to moon over (George Sear), you see, and awkward passes to be made and rebuffed. There’s a revelation that must be revealed—first to his weird best friend, intentionally, and then to other interested parties, along the accidental-yet-wildly-convenient routes that are the stuff of rom-coms (always check for feet under the bathroom stalls before baring your dang soul, people; come on, we’ve been over this).\u003c/p>\n\u003cp>Which is to say: Despite the differences between their leads, \u003cem>Love, Victor\u003c/em> conforms exactly to the narrative shape and modest, crowd-pleasing ambitions of the film that preceded it. And if that’s where the show’s intentions lie, and it manages to tell its conventional tale with charming performances from Cimino et al., why begrudge it not doing more? Especially given that the season ends on a note that suggests a desire to tell a different, more difficult story, should it get a second season—a story with real stakes, insurmountable conflicts and lasting repercussions?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, given everything that leads up to that moment, a second season of \u003cem>Love, Victor\u003c/em> probably won’t choose to tell \u003cem>that \u003c/em>story. But there’s some hope it might. After all, this first season was produced for Disney+, which ultimately balked at airing the show on its service. Now that the series has found a home at Hulu, it’s intriguing to imagine a second season conceived and executed without catering to the House of Mouse’s all-ages audience—a \u003cem>Love, Victor\u003c/em> that allows Victor to love.\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=Hovering+In+The+Closet+Doorway%3A+%27Love%2C+Victor%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The main impression left by 2018’s pat, polished and inoffensive gay-teen rom-com \u003cem>Love, Simon \u003c/em>was how consummately unqueer it presented. Sure, its protagonist, Simon, struggled with his sexual identity, but he did so from inside thick layers of privilege that kept him safe, like a suit of bougie, masc-for-masc chain mail. He was white, he lived in a tony Atlanta suburb with his liberal, warm, wet-eyed parents—he could and did easily pass for straight.\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/ykHeGtN4m94'\n title='//www.youtube.com/embed/ykHeGtN4m94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least the film acknowledged, indirectly, that Simon’s life in his roomy, well-appointed closet was a luxury unavailable to many queer teens. Simon confessed to us that his decision not to come out was rooted in fear—but not, as it is for millions of queer kids, out of fear for his physical, emotional or financial safety, or even fear that he’d be rejected by friends and family. No, he was simply worried that his cushy suburban idyll would, in some way, change.\u003c/p>\n\u003cp>That’s why, though it was packaged as a chance for LGBTQ+ kids to finally see themselves on screen in a mainstream love story, the film’s low-stakes, normcore sensibility, to say nothing of its tendency to patiently explain aspects of gay life that wouldn’t need explaining to any gay kid with a laptop, felt as if they were pitched squarely (heh) at straights.\u003c/p>\n\u003cp>Enter: \u003cem>Love, Victor\u003c/em>, Hulu’s follow-up series, in which the film’s writers get a chance to course-correct. And in the pilot’s opening minutes, the series espouses a mission statement that engages with the film’s limitations in a way that seems promising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fifteen-year-old Victor Salazar (Michael Cimino) has just moved from Texas to the same Atlanta suburb featured in the film, to attend the same high school Simon did. But Victor and his family are Colombian American. His parents have to work harder than Simon’s—both to make ends meet and to make their marriage work. They are conservative and religious.\u003c/p>\n\u003cp>All of this signals an opportunity to grapple with thornier, more substantive conflicts related to coming out than Simon ever faced. And the series’s framing device—a series of texts between Victor and Simon (voiced by the film’s Nick Robinson)—kicks off promisingly, with Victor angrily calling Simon out on his privilege.\u003c/p>\n\u003cp>But while the specifics of Victor’s family life continue to imbue the series with a more lived-in texture than the film managed to achieve, the writing soon—too soon—adopts the restrained tone of the movie. Victor’s high school friends slot neatly into types—the eccentric pal (Anthony Turpel), the popular rich girl (Rachel Hilson), her friend who speaks in a stream of just-past-their-sell-by-date pop-culture references (Bebe Wood), the arrogant jock (Mason Gooding). All are given room to deepen/complicate, which they do by hitting all the familiar stations of the teen rom-com cross: house party, love triangle, school dance, etc.\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/uh-IaEaEdE0'\n title='//www.youtube.com/embed/uh-IaEaEdE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Simon before him, Victor seems woefully naive in ways that allow him to serve as a proxy for straight viewers.\u003c/p>\n\u003cp>But just … \u003cem>deeply \u003c/em>sheltered straight viewers.\u003c/p>\n\u003cp>How else to explain, in this the year of our Lord 2020, his shocked disbelief in a late-season episode that \u003cem>Wait, there are gay … athletes?\u003c/em>\u003c/p>\n\u003cp>It’s a moment that, had \u003cem>Love, Victor\u003c/em> retained the convictions evinced in the pilot, might allow the series to address something real, in a spiky way: Victor’s very evident internalized homophobia. To queer kids like Victor who can pass for straight, the guardedness they carry isn’t quickly or easily dropped. It curdles all too readily into toxic behavior—disdaining, or performatively lashing out at, kids whose queerness can’t be as conveniently hidden; paranoia that their secret will come out before they can; a festering self-hatred that fuels thoughts of self-harm.\u003c/p>\n\u003cp>Instead, we just see Victor get a bit rattled around the queer people he meets. There’s a nugget of truth, there—just as there’s something intriguing about Victor’s romantic relationship with popular girl Mia. The show pays lip service to the notion that Victor may be bisexual or nonbinary without ever truly engaging with it, because the story it seeks to tell is a more familiar one altogether.\u003c/p>\n\u003cp>There’s a winsome, pillow-lipped hottie for Simon to moon over (George Sear), you see, and awkward passes to be made and rebuffed. There’s a revelation that must be revealed—first to his weird best friend, intentionally, and then to other interested parties, along the accidental-yet-wildly-convenient routes that are the stuff of rom-coms (always check for feet under the bathroom stalls before baring your dang soul, people; come on, we’ve been over this).\u003c/p>\n\u003cp>Which is to say: Despite the differences between their leads, \u003cem>Love, Victor\u003c/em> conforms exactly to the narrative shape and modest, crowd-pleasing ambitions of the film that preceded it. And if that’s where the show’s intentions lie, and it manages to tell its conventional tale with charming performances from Cimino et al., why begrudge it not doing more? Especially given that the season ends on a note that suggests a desire to tell a different, more difficult story, should it get a second season—a story with real stakes, insurmountable conflicts and lasting repercussions?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I mean, given everything that leads up to that moment, a second season of \u003cem>Love, Victor\u003c/em> probably won’t choose to tell \u003cem>that \u003c/em>story. But there’s some hope it might. After all, this first season was produced for Disney+, which ultimately balked at airing the show on its service. Now that the series has found a home at Hulu, it’s intriguing to imagine a second season conceived and executed without catering to the House of Mouse’s all-ages audience—a \u003cem>Love, Victor\u003c/em> that allows Victor to love.\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=Hovering+In+The+Closet+Doorway%3A+%27Love%2C+Victor%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "If You're Grieving Right Now, Here Are 5 Shows That Get It",
"headTitle": "If You’re Grieving Right Now, Here Are 5 Shows That Get It | KQED",
"content": "\u003cp>If there is one emotion that hangs over our world these days—other than fear and anger, perhaps—it is grief.\u003c/p>\n\u003cp>There’s the grief that comes from watching the death of George Floyd captured on a bystander’s video, pleading for his mother and his breath, while a police officer kneels with a knee on his neck.\u003c/p>\n\u003cp>There’s grief over what that moment said about police and the policing of black people, along with grief over the protests and violence in some American cities as people demand answers.\u003c/p>\n\u003cp>And there’s the grief of Coronavirus, as we mourn lives cut short, and shoulder the loss of jobs, business opportunities, weddings, vacations, graduations, senior proms …\u003c/p>\n\u003cp>In this difficult time, television shows have emerged as a surprising resource, with important examples of how people process grief and handle journeys of loss. An increasing number of fictional dramas and comedy series center on characters struggling with grief in raw and emotional ways, which some experts say can actually help all of us learn how to process those feelings better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I do think there’s a lot of power in the media starting to embrace grief as a conversation,” says Joanne Weingarten, the Senior Clinical Coordinator of adult programs at the \u003ca href=\"https://www.ourhouse-grief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Our House Grief Support Center \u003c/a>in Los Angeles. “The thing I find really powerful about these shows, is that they don’t solve grief in one episode. When you live in a culture that says after three days when someone you love dies, you should be back in the workforce, that can be really confusing.”\u003c/p>\n\u003cp>Some have used the term “traumedies” to describe comedies about pain and loss. But there’s a wide range of shows mining the subject, featuring grief and grieving characters centrally.\u003c/p>\n\u003cp>In a way, it’s counterintuitive to typical TV development, which focuses on likable characters viewers want inside their homes—grieving characters can be unlikable and difficult to watch.\u003c/p>\n\u003cp>Holly Daniels, a former actress (\u003cem>House\u003c/em> and \u003cem>Castle)\u003c/em>, now has a doctorate in psychology and serves as Managing Director of Clinical Affairs for the \u003ca href=\"https://www.camft.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Association of Marriage and Family Therapists\u003c/a> in Los Angeles. She says TV shows that treat grief as a momentary state often miss the mark, feeding into a culture that tells viewers major life problems can have simple solutions rooted in consumerism, like purchasing the right car or the right house.\u003c/p>\n\u003cp>“Being in the rat race of our consumer culture, [the lockdowns sparked by the pandemic] forced us to kind of take a step back and figure out what is meaningful to us,” Daniels says. “Consumer culture disengages us. … We almost needed something this global to make us step back from that and look at our lives. … That’s what I see in these shows.”\u003c/p>\n\u003cp>It may sound odd to highlight fictional stories about grief at a time when so much of the real thing is around. But experts say there is also a catharsis in watching someone struggle with feelings you are having—it’s also one of the most powerful dynamics that binds us to television—and there is a lot about grief and grieving that today’s TV shows get right.\u003c/p>\n\u003cp>Here’s my list of the best TV shows that depict grief these days, along with a little analysis from the experts.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbo.com/i-know-this-much-is-true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Know This Much Is True\u003c/strong>\u003c/a>\u003cstrong> (HBO)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U4KBGydqlVk\u003c/p>\n\u003cp>In this miniseries, based on a Wally Lamb novel, Mark Ruffalo gives anguished, emotional performances as two people; twin brothers, Dominick and Thomas. Though the first episode features Thomas committing a horrific act while struggling with mental illness, it is Dominick we see constantly suffering from grief—pushing away friends and family members after the loss of his mother, his baby, his marriage and more.\u003c/p>\n\u003cp>At times, Dominick seems the brother most in need of help, as his twin’s commitment to an institution sends him into a spiral of anger, self-loathing, guilt and anxiety that lasts years. In the miniseries, Dominick’s ex-wife, girlfriend, best friend and stepfather all step back in the wake of his blistering anger; for viewers, it makes watching the middle episodes of the miniseries a challenge as we plunge deeper into his dark world.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “Grief is really messy; it can be a lot of tangled emotions, positive and negative, over many months or many years,” says Dr. Shoshana Ungerleider, a physician who also was an executive producer of \u003ca href=\"https://www.netflix.com/title/80210691\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End Game\u003c/em>,\u003c/a> a Netflix documentary short about end of life issues. “Anxiety is the missing stage of grief that nobody talks about, but so many people are feeling right now. Giving ourselves permission to feel that can be really therapeutic.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80998491\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>After Life \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eIGGKSHMQOM\u003c/p>\n\u003cp>Ricky Gervais plays a more depressed and suicidal version of himself as Tony Johnson, features editor for a small community newspaper, who is drowning in grief after his beloved wife dies of breast cancer. At first, he plans to kill himself, then copes by doing whatever he wants—often lobbing insults at those around him, as only Gervais can—as a way of punishing the world. But when others try to help him, his attitude changes.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “This show does a really good job of not sugarcoating his grief,” says Weingarten of the Our House Center. “It shows that he is angry, sad, and at moments wants to end his life. But, slowly, he tries to put one foot in front of the other, [though] there are setbacks.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80219707\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Dead to Me \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BwYBw1raC2o\u003c/p>\n\u003cp>In one of the oddest buddy comedies on TV, Christina Applegate plays Jen Harding, a realtor struggling to handle grief after her husband is killed by a hit-and-run driver. Her life improves when she meets Judy Hale, played by Linda Cardellini, another widow at a grief support group who becomes a fast and close friend. But (spoiler alert!) when Jen learns that Judy isn’t exactly who she says she is, their relationship changes. In the second season, which debuted recently, Jen is still struggling to control her anger as their roles switch and she is forced to hide a terrible secret from Judy.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “You want to make sure you’re not putting pressure on yourself in the early stages of grief to see silver linings or find meaning or do work to make yourself a better person,” says Daniels, noting the pressure on Applegate’s character to improve during support group meetings. “If you’re in the angry phase or you’re in the ‘Everybody leave me alone, I need some space’ phase, that’s okay too. Just by showing us how these characters are feeling and letting us see that, without someone jumping in to fix it right away, is a huge help to a lot of people. … It really can be a comfort.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.nbc.com/this-is-us\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>This Is Us\u003c/strong>\u003c/a>\u003cstrong> (NBC)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RxORiOOrE8I\u003c/p>\n\u003cp>NBC’s super-successful family drama centers on three grown siblings—two biological and one adopted—born on the same day. But the show depicts them at different times in their lives—as tweens, teens and adults—slowly revealing that much of the series’ storylines are centered on how the siblings have been affected across the breadth of their lives by the death of their father.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “That’s a show people at the [Our House Grief] Center talk about a lot … [because] we grieve not just for the current moment, we grieve for the future we planned with the person who died,” says Weingarten. “Every time there’s an event that you expected that person to [attend], there will be some grief involved.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sorryforyourloss/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sorry For Your Loss \u003c/strong>\u003c/a>\u003cstrong>(Facebook Watch)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ajPHIp-ZgfA\u003c/p>\n\u003cp>This under-the-radar series is probably the best original show Facebook has produced yet for its Watch platform. \u003cem>Avengers\u003c/em> franchise star Elizabeth Olsen plays Leigh Shaw, a young widow who left her job writing an advice column to move in with her mother and sister after her husband dies. As a widow, Leigh feels the most entitled to show her grief, but the series reveals that everyone in her family is struggling with the loss of her husband in different ways, including her husband’s brother.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “When someone in our life dies … everyone else [in our life] is grieving the same person, but they have a different relationship with that person,” says Weingarten. “Even though we’re grieving the same individual, what we’re missing about that person might be radically different. So engaging in conversations with others and talking about what you miss about that person can be really powerful, because we can learn about the people we loved after they are gone.”\u003c/p>\n\u003cp>There are many more great TV shows centered on this subject, from HBO’s \u003ca href=\"https://www.hbo.com/six-feet-under\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Six Feet Under\u003c/em>\u003c/a> and ABC’s \u003ca href=\"https://abc.com/shows/a-million-little-things\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Million Little Things\u003c/em>\u003c/a> to Amazon’s\u003ca href=\"https://www.amazon.com/Undone-Season-1/dp/B07SQB8LQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Undone\u003c/em>\u003c/a> and Netflix’s \u003ca href=\"https://www.netflix.com/title/80179190\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Never Have I Ever\u003c/em>. \u003c/a>Even classic good guys like Harry Potter, Batman and Superman were forged into heroes by the crucible of grief, rebounding from the deaths of their parents to become forces for justice. [aside postid='pop_105551']\u003c/p>\n\u003cp>Daniels says such fictional work can provide lasting lessons, as trauma from the pandemic and world events remains with us all, even after the immediate crisis ends.\u003c/p>\n\u003cp>“We’re always going to carry this time with us,” she says. “But maybe struggling together can bring us closer to each other. Maybe we’ll find more connection. And TV shows which [depict] that arc of healing and reconnection … that’s a really important storyline for people to see.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\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=If+You%27re+Grieving+Right+Now%2C+Here+Are+5+Shows+That+Get+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there is one emotion that hangs over our world these days—other than fear and anger, perhaps—it is grief.\u003c/p>\n\u003cp>There’s the grief that comes from watching the death of George Floyd captured on a bystander’s video, pleading for his mother and his breath, while a police officer kneels with a knee on his neck.\u003c/p>\n\u003cp>There’s grief over what that moment said about police and the policing of black people, along with grief over the protests and violence in some American cities as people demand answers.\u003c/p>\n\u003cp>And there’s the grief of Coronavirus, as we mourn lives cut short, and shoulder the loss of jobs, business opportunities, weddings, vacations, graduations, senior proms …\u003c/p>\n\u003cp>In this difficult time, television shows have emerged as a surprising resource, with important examples of how people process grief and handle journeys of loss. An increasing number of fictional dramas and comedy series center on characters struggling with grief in raw and emotional ways, which some experts say can actually help all of us learn how to process those feelings better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do think there’s a lot of power in the media starting to embrace grief as a conversation,” says Joanne Weingarten, the Senior Clinical Coordinator of adult programs at the \u003ca href=\"https://www.ourhouse-grief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Our House Grief Support Center \u003c/a>in Los Angeles. “The thing I find really powerful about these shows, is that they don’t solve grief in one episode. When you live in a culture that says after three days when someone you love dies, you should be back in the workforce, that can be really confusing.”\u003c/p>\n\u003cp>Some have used the term “traumedies” to describe comedies about pain and loss. But there’s a wide range of shows mining the subject, featuring grief and grieving characters centrally.\u003c/p>\n\u003cp>In a way, it’s counterintuitive to typical TV development, which focuses on likable characters viewers want inside their homes—grieving characters can be unlikable and difficult to watch.\u003c/p>\n\u003cp>Holly Daniels, a former actress (\u003cem>House\u003c/em> and \u003cem>Castle)\u003c/em>, now has a doctorate in psychology and serves as Managing Director of Clinical Affairs for the \u003ca href=\"https://www.camft.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Association of Marriage and Family Therapists\u003c/a> in Los Angeles. She says TV shows that treat grief as a momentary state often miss the mark, feeding into a culture that tells viewers major life problems can have simple solutions rooted in consumerism, like purchasing the right car or the right house.\u003c/p>\n\u003cp>“Being in the rat race of our consumer culture, [the lockdowns sparked by the pandemic] forced us to kind of take a step back and figure out what is meaningful to us,” Daniels says. “Consumer culture disengages us. … We almost needed something this global to make us step back from that and look at our lives. … That’s what I see in these shows.”\u003c/p>\n\u003cp>It may sound odd to highlight fictional stories about grief at a time when so much of the real thing is around. But experts say there is also a catharsis in watching someone struggle with feelings you are having—it’s also one of the most powerful dynamics that binds us to television—and there is a lot about grief and grieving that today’s TV shows get right.\u003c/p>\n\u003cp>Here’s my list of the best TV shows that depict grief these days, along with a little analysis from the experts.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbo.com/i-know-this-much-is-true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Know This Much Is True\u003c/strong>\u003c/a>\u003cstrong> (HBO)\u003c/strong>\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/U4KBGydqlVk'\n title='//www.youtube.com/embed/U4KBGydqlVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this miniseries, based on a Wally Lamb novel, Mark Ruffalo gives anguished, emotional performances as two people; twin brothers, Dominick and Thomas. Though the first episode features Thomas committing a horrific act while struggling with mental illness, it is Dominick we see constantly suffering from grief—pushing away friends and family members after the loss of his mother, his baby, his marriage and more.\u003c/p>\n\u003cp>At times, Dominick seems the brother most in need of help, as his twin’s commitment to an institution sends him into a spiral of anger, self-loathing, guilt and anxiety that lasts years. In the miniseries, Dominick’s ex-wife, girlfriend, best friend and stepfather all step back in the wake of his blistering anger; for viewers, it makes watching the middle episodes of the miniseries a challenge as we plunge deeper into his dark world.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “Grief is really messy; it can be a lot of tangled emotions, positive and negative, over many months or many years,” says Dr. Shoshana Ungerleider, a physician who also was an executive producer of \u003ca href=\"https://www.netflix.com/title/80210691\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End Game\u003c/em>,\u003c/a> a Netflix documentary short about end of life issues. “Anxiety is the missing stage of grief that nobody talks about, but so many people are feeling right now. Giving ourselves permission to feel that can be really therapeutic.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80998491\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>After Life \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\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/eIGGKSHMQOM'\n title='//www.youtube.com/embed/eIGGKSHMQOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ricky Gervais plays a more depressed and suicidal version of himself as Tony Johnson, features editor for a small community newspaper, who is drowning in grief after his beloved wife dies of breast cancer. At first, he plans to kill himself, then copes by doing whatever he wants—often lobbing insults at those around him, as only Gervais can—as a way of punishing the world. But when others try to help him, his attitude changes.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “This show does a really good job of not sugarcoating his grief,” says Weingarten of the Our House Center. “It shows that he is angry, sad, and at moments wants to end his life. But, slowly, he tries to put one foot in front of the other, [though] there are setbacks.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80219707\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Dead to Me \u003c/strong>\u003c/a>\u003cstrong>(Netflix)\u003c/strong>\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/BwYBw1raC2o'\n title='//www.youtube.com/embed/BwYBw1raC2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the oddest buddy comedies on TV, Christina Applegate plays Jen Harding, a realtor struggling to handle grief after her husband is killed by a hit-and-run driver. Her life improves when she meets Judy Hale, played by Linda Cardellini, another widow at a grief support group who becomes a fast and close friend. But (spoiler alert!) when Jen learns that Judy isn’t exactly who she says she is, their relationship changes. In the second season, which debuted recently, Jen is still struggling to control her anger as their roles switch and she is forced to hide a terrible secret from Judy.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “You want to make sure you’re not putting pressure on yourself in the early stages of grief to see silver linings or find meaning or do work to make yourself a better person,” says Daniels, noting the pressure on Applegate’s character to improve during support group meetings. “If you’re in the angry phase or you’re in the ‘Everybody leave me alone, I need some space’ phase, that’s okay too. Just by showing us how these characters are feeling and letting us see that, without someone jumping in to fix it right away, is a huge help to a lot of people. … It really can be a comfort.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.nbc.com/this-is-us\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>This Is Us\u003c/strong>\u003c/a>\u003cstrong> (NBC)\u003c/strong>\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/RxORiOOrE8I'\n title='//www.youtube.com/embed/RxORiOOrE8I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NBC’s super-successful family drama centers on three grown siblings—two biological and one adopted—born on the same day. But the show depicts them at different times in their lives—as tweens, teens and adults—slowly revealing that much of the series’ storylines are centered on how the siblings have been affected across the breadth of their lives by the death of their father.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “That’s a show people at the [Our House Grief] Center talk about a lot … [because] we grieve not just for the current moment, we grieve for the future we planned with the person who died,” says Weingarten. “Every time there’s an event that you expected that person to [attend], there will be some grief involved.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sorryforyourloss/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sorry For Your Loss \u003c/strong>\u003c/a>\u003cstrong>(Facebook Watch)\u003c/strong>\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/ajPHIp-ZgfA'\n title='//www.youtube.com/embed/ajPHIp-ZgfA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This under-the-radar series is probably the best original show Facebook has produced yet for its Watch platform. \u003cem>Avengers\u003c/em> franchise star Elizabeth Olsen plays Leigh Shaw, a young widow who left her job writing an advice column to move in with her mother and sister after her husband dies. As a widow, Leigh feels the most entitled to show her grief, but the series reveals that everyone in her family is struggling with the loss of her husband in different ways, including her husband’s brother.\u003c/p>\n\u003cp>\u003cstrong>Experts say:\u003c/strong> “When someone in our life dies … everyone else [in our life] is grieving the same person, but they have a different relationship with that person,” says Weingarten. “Even though we’re grieving the same individual, what we’re missing about that person might be radically different. So engaging in conversations with others and talking about what you miss about that person can be really powerful, because we can learn about the people we loved after they are gone.”\u003c/p>\n\u003cp>There are many more great TV shows centered on this subject, from HBO’s \u003ca href=\"https://www.hbo.com/six-feet-under\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Six Feet Under\u003c/em>\u003c/a> and ABC’s \u003ca href=\"https://abc.com/shows/a-million-little-things\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Million Little Things\u003c/em>\u003c/a> to Amazon’s\u003ca href=\"https://www.amazon.com/Undone-Season-1/dp/B07SQB8LQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Undone\u003c/em>\u003c/a> and Netflix’s \u003ca href=\"https://www.netflix.com/title/80179190\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Never Have I Ever\u003c/em>. \u003c/a>Even classic good guys like Harry Potter, Batman and Superman were forged into heroes by the crucible of grief, rebounding from the deaths of their parents to become forces for justice. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\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=If+You%27re+Grieving+Right+Now%2C+Here+Are+5+Shows+That+Get+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dismantling 'The Bachelor's' Racist and Sexist Elements Has Only Just Begun",
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"content": "\u003cp>ABC may believe it has faced down some criticism by naming Matt James as the first black man to star in its dating “reality TV” franchise \u003cem>The Bachelor\u003c/em>. But its challenge in dismantling the show’s racist and sexist elements has only begun.\u003c/p>\n\u003cp>My longtime criticism of the \u003cem>Bachelor\u003c/em> franchise speaks to the heart of the show’s design. It is a princess fantasy, built around the idea of a woman finding fulfillment by landing the perfect man, filtered through an upper-middle class, predominantly white lens. [aside postid='pop_104953']\u003c/p>\n\u003cp>That’s why this announcement, \u003ca href=\"https://www.goodmorningamerica.com/culture/story/bachelor-names-matt-james-franchises-1st-black-bachelor-71212543\" target=\"_blank\" rel=\"noopener noreferrer\">delivered with fanfare\u003c/a> on ABC’s breakfast-time news show \u003cem>Good Morning America\u003c/em>, hit like a thunderclap at a crucial time for the franchise. \u003ca href=\"https://www.change.org/p/abc-a-campaign-for-anti-racism-in-the-bachelor-franchise\" target=\"_blank\" rel=\"noopener noreferrer\">A petition\u003c/a> on Change.org started last week—asking for a black bachelor, for 35 percent of the show’s contestants to be people of color, and for participants to be screened for past racist behavior, among other things—has more than 85,000 signatures and counting.\u003c/p>\n\u003cp>Rachel Lindsay, cast as \u003cem>The Bachelorette\u003c/em>‘s first black female lead back in 2017, has criticized the show for its lack of diversity and \u003ca href=\"https://www.rachellindsayofficial.com/post/honestly-rach-june-8-2020\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a column\u003c/a> with suggestions for making it better. Given how other highly criticized \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">shows like \u003cem>Cops\u003c/em>\u003c/a> and \u003cem>Live PD\u003c/em> were vaporized in the wake of current debates about police brutality and racism, it feels a bit convenient that ABC and \u003cem>Bachelor/Bachelorette\u003c/em> executive producer Mike Fleiss is taking this step now.\u003c/p>\n\u003cp>The biggest question hanging over this moment is simple: Why did it take so long?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em>, featuring a single man choosing a mate from about two dozen aspiring women, debuted in 2002. \u003cem>The Bachelorette\u003c/em>, a spin-off which puts a woman in the choosing position, debuted in 2003. But the show didn’t cast a non-white Bachelor until 2014; Juan Pablo Galavis, a soccer star of Venezuelan heritage who looked an awful lot like the well-scrubbed white guys often featured on the show and had been eliminated early as a choice on \u003cem>The Bachelorette \u003c/em>in 2013.\u003c/p>\n\u003cp>Galavis was named just two years after two black men who had tried out for \u003cem>The Bachelor\u003c/em> and failed to make the cast sued the show for racial discrimination. Their contention was that the show deliberately excluded and diminished potential contestants of color; \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">a judge ruled\u003c/a> that, even if they were right, the show had a First Amendment right to cast who they wanted. [aside postid='arts_13881748']\u003c/p>\n\u003cp>Now, as the show faces renewed pressure to improve its diversity track record, it names as its new star, James—a 28-year-old real estate broker who was part of this season of \u003cem>The Bachelorette\u003c/em>, which paused production due to the coronavirus pandemic.\u003c/p>\n\u003cp>(I guess we know who isn’t winning this season of \u003cem>The Bachelorette\u003c/em>. Still, since the\u003cem> Bachelor/Bachelorette\u003c/em> franchise often recycles stars from contestants on previous shows, sometimes almost winning is better for someone’s reality TV career than actually getting picked as a mate.)\u003c/p>\n\u003cp>“We know we have a responsibility to make sure the love stories we’re seeing onscreen are representative of the world we live in, and we are proudly in service to our audience,” said ABC entertainment president Karey Burke in a statement. “This is just the beginning, and we will continue to take action with regard to diversity issues on this franchise.”\u003c/p>\n\u003cp>Beyond the obvious stuff like “don’t stereotype the star as an angry black man” and “hire more non-white producers behind the scenes with power,” here are my recommendations to ABC and Fleiss on what still needs to happen for \u003cem>The Bachelor\u003c/em> to address its problems with race:\u003c/p>\n\u003cp>\u003cstrong>The show can’t be centered on white, upper-middle-class sensibilities anymore.\u003c/strong>\u003c/p>\n\u003cp>This goes beyond casting more non-white people on the show. Casting a wider diversity of people won’t make much difference if they’re expected to act just like the white people who have dominated the show for so many years. Dates set in opulent, lily-white environments like luxury resorts have got to end, along with the materialism that makes so many adventures on the show feel like a journey through the world of upper-middle class white folks.\u003c/p>\n\u003cp>\u003cstrong>Racism and racists can’t be used as sources of attention-getting conflict.\u003c/strong>\u003c/p>\n\u003cp>One strategy used by reality TV producers with black contestants on white-centered shows, is to generate controversy with a racist castmember. In Rachel Lindsay’s season, that contestant was self-described “country boy” Lee Garrett, who was cast despite a trail of racist Twitter posts, resulting in a headline-generating confrontation over his racism during the season’s “Men Tell All” episode. This needs to end. The pain of non-white people confronting racism shouldn’t be reduced to reality TV entertainment when avoidable. I’m also steeling myself for a clunky scene where James has to confront a white woman who only wants to date him because of his race.\u003c/p>\n\u003cp>\u003cstrong>We need to see black love and interracial love treated fairly.\u003c/strong>\u003c/p>\n\u003cp>I’m convinced one reason we haven’t seen a black bachelor before now isn’t just because producers were afraid the show’s white audience wasn’t ready to see a black man who might choose a white woman as his bride. There may also be black viewers who aren’t ready for it, either. TV has always struggled to present authentic, healthy images of two black people in love. And black men who are romantically involved with white women have sometimes faced accusations of bowing to America’s elevation of white, female beauty. For James, threading that needle in the spotlight of a major network TV show with a terrible track record on race won’t be easy.\u003c/p>\n\u003cp>\u003cstrong>The show’s hypocritical stances on sex, stereotypes and physical beauty need to end.\u003c/strong>\u003c/p>\n\u003cp>Past seasons in which women seem pressured by the show to become physically intimate with bachelors to stay in contention have always bothered me. Likewise, with the show’s habit of quickly slotting contestants into easy-to-identify stereotypes, like “the overconfident one,” or “the unstable provocateur.” And every season’s bachelor is often built up as an idealized vision of masculinity—a big part of the show’s diversity problem isn’t just that it has downplayed people of color for so long, but that all the contestants fit a narrow range of physical types and definitions of beauty. Sometimes cast pictures look like everyone was recruited from the same Abercrombie & Fitch catalog photo shoot; time to shake up more than just the race of those who appear on the show.\u003c/p>\n\u003cp>As a longtime critic of \u003cem>The Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em>, I remain skeptical the show will improve much. And given the way the pandemic has curtailed TV production, it’s tough to know exactly when this season will see daylight (ABC has said sometime in 2021). [aside postid='arts_13881907']\u003c/p>\n\u003cp>But what I really hope is that producers of the show stop seeing criticisms as something to resist and pay attention. Because, just like in the debate about systemic racism in policing, people have been calling out \u003cem>The Bachelor\u003c/em>‘s shortcomings for a very long while.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a shame that it may have taken a seismic debate over racism in America to finally get the show’s attention.\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=Dismantling+%27The+Bachelor%27s%27+Racist+And+Sexist+Elements+Has+Only+Just+Begun&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ABC may believe it has faced down some criticism by naming Matt James as the first black man to star in its dating “reality TV” franchise \u003cem>The Bachelor\u003c/em>. But its challenge in dismantling the show’s racist and sexist elements has only begun.\u003c/p>\n\u003cp>My longtime criticism of the \u003cem>Bachelor\u003c/em> franchise speaks to the heart of the show’s design. It is a princess fantasy, built around the idea of a woman finding fulfillment by landing the perfect man, filtered through an upper-middle class, predominantly white lens. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s why this announcement, \u003ca href=\"https://www.goodmorningamerica.com/culture/story/bachelor-names-matt-james-franchises-1st-black-bachelor-71212543\" target=\"_blank\" rel=\"noopener noreferrer\">delivered with fanfare\u003c/a> on ABC’s breakfast-time news show \u003cem>Good Morning America\u003c/em>, hit like a thunderclap at a crucial time for the franchise. \u003ca href=\"https://www.change.org/p/abc-a-campaign-for-anti-racism-in-the-bachelor-franchise\" target=\"_blank\" rel=\"noopener noreferrer\">A petition\u003c/a> on Change.org started last week—asking for a black bachelor, for 35 percent of the show’s contestants to be people of color, and for participants to be screened for past racist behavior, among other things—has more than 85,000 signatures and counting.\u003c/p>\n\u003cp>Rachel Lindsay, cast as \u003cem>The Bachelorette\u003c/em>‘s first black female lead back in 2017, has criticized the show for its lack of diversity and \u003ca href=\"https://www.rachellindsayofficial.com/post/honestly-rach-june-8-2020\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a column\u003c/a> with suggestions for making it better. Given how other highly criticized \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">shows like \u003cem>Cops\u003c/em>\u003c/a> and \u003cem>Live PD\u003c/em> were vaporized in the wake of current debates about police brutality and racism, it feels a bit convenient that ABC and \u003cem>Bachelor/Bachelorette\u003c/em> executive producer Mike Fleiss is taking this step now.\u003c/p>\n\u003cp>The biggest question hanging over this moment is simple: Why did it take so long?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em>, featuring a single man choosing a mate from about two dozen aspiring women, debuted in 2002. \u003cem>The Bachelorette\u003c/em>, a spin-off which puts a woman in the choosing position, debuted in 2003. But the show didn’t cast a non-white Bachelor until 2014; Juan Pablo Galavis, a soccer star of Venezuelan heritage who looked an awful lot like the well-scrubbed white guys often featured on the show and had been eliminated early as a choice on \u003cem>The Bachelorette \u003c/em>in 2013.\u003c/p>\n\u003cp>Galavis was named just two years after two black men who had tried out for \u003cem>The Bachelor\u003c/em> and failed to make the cast sued the show for racial discrimination. Their contention was that the show deliberately excluded and diminished potential contestants of color; \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">a judge ruled\u003c/a> that, even if they were right, the show had a First Amendment right to cast who they wanted. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, as the show faces renewed pressure to improve its diversity track record, it names as its new star, James—a 28-year-old real estate broker who was part of this season of \u003cem>The Bachelorette\u003c/em>, which paused production due to the coronavirus pandemic.\u003c/p>\n\u003cp>(I guess we know who isn’t winning this season of \u003cem>The Bachelorette\u003c/em>. Still, since the\u003cem> Bachelor/Bachelorette\u003c/em> franchise often recycles stars from contestants on previous shows, sometimes almost winning is better for someone’s reality TV career than actually getting picked as a mate.)\u003c/p>\n\u003cp>“We know we have a responsibility to make sure the love stories we’re seeing onscreen are representative of the world we live in, and we are proudly in service to our audience,” said ABC entertainment president Karey Burke in a statement. “This is just the beginning, and we will continue to take action with regard to diversity issues on this franchise.”\u003c/p>\n\u003cp>Beyond the obvious stuff like “don’t stereotype the star as an angry black man” and “hire more non-white producers behind the scenes with power,” here are my recommendations to ABC and Fleiss on what still needs to happen for \u003cem>The Bachelor\u003c/em> to address its problems with race:\u003c/p>\n\u003cp>\u003cstrong>The show can’t be centered on white, upper-middle-class sensibilities anymore.\u003c/strong>\u003c/p>\n\u003cp>This goes beyond casting more non-white people on the show. Casting a wider diversity of people won’t make much difference if they’re expected to act just like the white people who have dominated the show for so many years. Dates set in opulent, lily-white environments like luxury resorts have got to end, along with the materialism that makes so many adventures on the show feel like a journey through the world of upper-middle class white folks.\u003c/p>\n\u003cp>\u003cstrong>Racism and racists can’t be used as sources of attention-getting conflict.\u003c/strong>\u003c/p>\n\u003cp>One strategy used by reality TV producers with black contestants on white-centered shows, is to generate controversy with a racist castmember. In Rachel Lindsay’s season, that contestant was self-described “country boy” Lee Garrett, who was cast despite a trail of racist Twitter posts, resulting in a headline-generating confrontation over his racism during the season’s “Men Tell All” episode. This needs to end. The pain of non-white people confronting racism shouldn’t be reduced to reality TV entertainment when avoidable. I’m also steeling myself for a clunky scene where James has to confront a white woman who only wants to date him because of his race.\u003c/p>\n\u003cp>\u003cstrong>We need to see black love and interracial love treated fairly.\u003c/strong>\u003c/p>\n\u003cp>I’m convinced one reason we haven’t seen a black bachelor before now isn’t just because producers were afraid the show’s white audience wasn’t ready to see a black man who might choose a white woman as his bride. There may also be black viewers who aren’t ready for it, either. TV has always struggled to present authentic, healthy images of two black people in love. And black men who are romantically involved with white women have sometimes faced accusations of bowing to America’s elevation of white, female beauty. For James, threading that needle in the spotlight of a major network TV show with a terrible track record on race won’t be easy.\u003c/p>\n\u003cp>\u003cstrong>The show’s hypocritical stances on sex, stereotypes and physical beauty need to end.\u003c/strong>\u003c/p>\n\u003cp>Past seasons in which women seem pressured by the show to become physically intimate with bachelors to stay in contention have always bothered me. Likewise, with the show’s habit of quickly slotting contestants into easy-to-identify stereotypes, like “the overconfident one,” or “the unstable provocateur.” And every season’s bachelor is often built up as an idealized vision of masculinity—a big part of the show’s diversity problem isn’t just that it has downplayed people of color for so long, but that all the contestants fit a narrow range of physical types and definitions of beauty. Sometimes cast pictures look like everyone was recruited from the same Abercrombie & Fitch catalog photo shoot; time to shake up more than just the race of those who appear on the show.\u003c/p>\n\u003cp>As a longtime critic of \u003cem>The Bachelor\u003c/em> and \u003cem>Bachelorette\u003c/em>, I remain skeptical the show will improve much. And given the way the pandemic has curtailed TV production, it’s tough to know exactly when this season will see daylight (ABC has said sometime in 2021). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what I really hope is that producers of the show stop seeing criticisms as something to resist and pay attention. Because, just like in the debate about systemic racism in policing, people have been calling out \u003cem>The Bachelor\u003c/em>‘s shortcomings for a very long while.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a shame that it may have taken a seismic debate over racism in America to finally get the show’s attention.\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=Dismantling+%27The+Bachelor%27s%27+Racist+And+Sexist+Elements+Has+Only+Just+Begun&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Should We Do With Old Racist Movies on Streaming Platforms?",
"headTitle": "What Should We Do With Old Racist Movies on Streaming Platforms? | KQED",
"content": "\u003cp>Yesterday, HBO Max temporarily pulled \u003cem>Gone With the Wind\u003c/em> from its library. Announcing the decision, the channel’s statement read, “These racist depictions were wrong then and are wrong today.” It pledged to bring the 1939 movie back at a later date, alongside “a discussion of its historical context.”\u003c/p>\n\u003cp>Given the newness of the channel (it launched May 27), HBO Max’s sudden desire to denounce \u003cem>Gone With the Wind’\u003c/em>s racism feels fairly flimsy. The promotional hype for the platform was very specific about how much effort had been put into creating a high quality collection. But somehow, still, a movie awash with Black stereotypes and confederate romanticism made the cut. Why? \u003cem>Gone With the Wind\u003c/em> might be a landmark in cinema, but great production values don’t undo racist content.\u003c/p>\n\u003cp>When \u003cem>Gone With the Wind\u003c/em> does return at a later date, HBO Max says it will do so alongside “a denouncement … but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>[aside postid='arts_13881522']That approach is one already being put into practice by Disney. Last November, Disney+ abandoned its initial plans to \u003ca href=\"https://www.theguardian.com/media/2019/apr/23/disney-plus-streaming-site-will-not-offer-racist-song-of-the-south-film\" target=\"_blank\" rel=\"noopener noreferrer\">cut racist scenes\u003c/a> from its films and instead added disclaimers. Now, before you are subjected to \u003cem>Dumbo’\u003c/em>s crows or \u003cem>Lady and the Tramp’\u003c/em>s Siamese cats, viewers are warned about it. “This program is presented as originally created,” the channel tells you. “It may contain outdated cultural depictions.”\u003c/p>\n\u003cp>There is no single standard that streaming channels adhere to when it comes to overtly racist content. And maybe there should be. Because \u003ca href=\"https://en.wikipedia.org/wiki/The_Birth_of_a_Nation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birth of a Nation\u003c/em>\u003c/a>—arguably one of the most racist films in history—is currently available to stream via Dish Network’s \u003ca href=\"https://www.sling.com/movies/the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">Sling TV\u003c/a>. What’s more, the description on Sling’s website contains zero content warning—not for the glorification of the KKK, not for white actors in blackface, and not for its depiction of Black men as over-sexed savages.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Sling describes the film thusly: “The friendship between two families is torn apart by the developing Civil War. Fighting for opposing armies, the consequences of war are shown in their lives through major historical developments such as Lincoln’s assassination and the beginnings of the Ku Klux Klan.”\u003c/p>\n\u003cp>Given that the NAACP and \u003ca href=\"https://www.newyorker.com/culture/richard-brody/the-black-activist-who-fought-against-d-w-griffiths-the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">civil rights leaders protested\u003c/a> and boycotted the film’s release in 1915, it’s hard to fathom why any major channel would feel the need to carry it in 2020 at all—let alone without any kind of disclaimer. Before streaming, \u003cem>The Birth of a Nation\u003c/em> was relegated to college classrooms, where it was used not as entertainment, but to demonstrate a monstrous moment in history.\u003c/p>\n\u003cp>Even Disney+ has drawn a line by \u003ca href=\"https://deadline.com/2020/03/bob-iger-song-of-the-south-disney-disclaimer-1202879464/\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to stream \u003c/a>\u003cem>Song of the South. \u003c/em>The 1946 movie, most famous for the Oscar-winning “Zip-a-Dee-Doo-Dah,” has not been widely available in America since a 40th anniversary-related theatrical release in 1986. In the years since, Disney has refused to release it on DVD or Blu-ray. When Disney+ launched, and a Change.org petition was created to lobby for it to be on the channel, it failed to reach its goal of 7,500 signatures.\u003c/p>\n\u003cp>[aside postid='arts_13881199']Disney boss \u003ca href=\"https://www.newsweek.com/song-south-not-disney-plus-racist-streaming-1471186\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Iger offered an explanation\u003c/a> for the company’s unwillingness to show or sell \u003cem>Song of the South\u003c/em> in 2011. “[It] wouldn’t necessarily sit right or feel right to a number of people today,” he said, and “it wouldn’t be in the best interest of our shareholders to bring it back, even though there would be some financial gain.”\u003c/p>\n\u003cp>So why isn’t that logic applied more widely? The arguments usually touted for keeping these kinds of films around are rooted in general aversions to both censorship and the re-writing of history. But removing obviously racist content from streaming channels doesn’t erase it from our culture any more than taking down statues of slave traders wipes them from the history books. We all know these things existed, and we all know they represent a different time. So why should we still have to look at them uncritically?\u003c/p>\n\u003cp>After HBO Max’s decision to temporarily remove \u003cem>Gone With the Wind\u003c/em>, movie producer Stephanie Allain (\u003cem>Boyz n the Hood\u003c/em>, \u003cem>Hustle & Flow,\u003c/em> \u003cem>Dear White People\u003c/em>) \u003ca href=\"https://www.youtube.com/watch?v=kP7KvyJTZ3w\" target=\"_blank\" rel=\"noopener noreferrer\">told CNN\u003c/a>: “It’s part of our film history, it’s part of American history. I don’t think it can be tucked away and forgotten. I think we have to look at it. But I think it has to be looked at within the context of racism, slavery, the war and where we are today.”\u003c/p>\n\u003cp>Allain is right. An outright ban is not the answer. (Because outright bans are almost never the answer.) And yes, we should study history to better understand the present. But these cinematic artifacts belong in classrooms and libraries, not on 2020’s most popular streaming channels. There is still a mountain of material on these platforms that does people of color a disservice, whether through a general lack of accurate representation, no representation at all or via tales that center on white saviors. (To wit, \u003cem>The Help\u003c/em> has been trending on Netflix all week.)\u003c/p>\n\u003cp>[aside postid='arts_13881761']In discussing \u003cem>Gone With the Wind\u003c/em> this week, BBC media editor \u003ca href=\"https://www.bbc.com/news/entertainment-arts-52990714\" target=\"_blank\" rel=\"noopener noreferrer\">Amol Rajan noted\u003c/a>: “The issue at stake here isn’t about one film. It’s about a much broader issue of whether we judge history by modern standards, even while recognizing that what we consider to be modern standards are fluid, contested and will some day themselves be consigned to history. This might be the beginning of a new front in our culture wars, powered by digital media.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s a very optimistic suggestion given the current half-hearted approach. If we can’t get these representations off our televisions at a time where channels are scrambling to reflect the moment (\u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cops\u003c/em> is canceled\u003c/a>; \u003ca href=\"https://deadline.com/2020/06/netflix-creates-collection-of-film-tv-content-highlighting-the-black-experience-1202955269/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix has launched\u003c/a> a collection of “complex narratives about the Black experience”), when can we? When streaming platforms refuse to take decisive action, they don’t just leave us staring at a legacy we should have moved on from, they stall cultural strides forward.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday, HBO Max temporarily pulled \u003cem>Gone With the Wind\u003c/em> from its library. Announcing the decision, the channel’s statement read, “These racist depictions were wrong then and are wrong today.” It pledged to bring the 1939 movie back at a later date, alongside “a discussion of its historical context.”\u003c/p>\n\u003cp>Given the newness of the channel (it launched May 27), HBO Max’s sudden desire to denounce \u003cem>Gone With the Wind’\u003c/em>s racism feels fairly flimsy. The promotional hype for the platform was very specific about how much effort had been put into creating a high quality collection. But somehow, still, a movie awash with Black stereotypes and confederate romanticism made the cut. Why? \u003cem>Gone With the Wind\u003c/em> might be a landmark in cinema, but great production values don’t undo racist content.\u003c/p>\n\u003cp>When \u003cem>Gone With the Wind\u003c/em> does return at a later date, HBO Max says it will do so alongside “a denouncement … but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That approach is one already being put into practice by Disney. Last November, Disney+ abandoned its initial plans to \u003ca href=\"https://www.theguardian.com/media/2019/apr/23/disney-plus-streaming-site-will-not-offer-racist-song-of-the-south-film\" target=\"_blank\" rel=\"noopener noreferrer\">cut racist scenes\u003c/a> from its films and instead added disclaimers. Now, before you are subjected to \u003cem>Dumbo’\u003c/em>s crows or \u003cem>Lady and the Tramp’\u003c/em>s Siamese cats, viewers are warned about it. “This program is presented as originally created,” the channel tells you. “It may contain outdated cultural depictions.”\u003c/p>\n\u003cp>There is no single standard that streaming channels adhere to when it comes to overtly racist content. And maybe there should be. Because \u003ca href=\"https://en.wikipedia.org/wiki/The_Birth_of_a_Nation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birth of a Nation\u003c/em>\u003c/a>—arguably one of the most racist films in history—is currently available to stream via Dish Network’s \u003ca href=\"https://www.sling.com/movies/the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">Sling TV\u003c/a>. What’s more, the description on Sling’s website contains zero content warning—not for the glorification of the KKK, not for white actors in blackface, and not for its depiction of Black men as over-sexed savages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Sling describes the film thusly: “The friendship between two families is torn apart by the developing Civil War. Fighting for opposing armies, the consequences of war are shown in their lives through major historical developments such as Lincoln’s assassination and the beginnings of the Ku Klux Klan.”\u003c/p>\n\u003cp>Given that the NAACP and \u003ca href=\"https://www.newyorker.com/culture/richard-brody/the-black-activist-who-fought-against-d-w-griffiths-the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">civil rights leaders protested\u003c/a> and boycotted the film’s release in 1915, it’s hard to fathom why any major channel would feel the need to carry it in 2020 at all—let alone without any kind of disclaimer. Before streaming, \u003cem>The Birth of a Nation\u003c/em> was relegated to college classrooms, where it was used not as entertainment, but to demonstrate a monstrous moment in history.\u003c/p>\n\u003cp>Even Disney+ has drawn a line by \u003ca href=\"https://deadline.com/2020/03/bob-iger-song-of-the-south-disney-disclaimer-1202879464/\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to stream \u003c/a>\u003cem>Song of the South. \u003c/em>The 1946 movie, most famous for the Oscar-winning “Zip-a-Dee-Doo-Dah,” has not been widely available in America since a 40th anniversary-related theatrical release in 1986. In the years since, Disney has refused to release it on DVD or Blu-ray. When Disney+ launched, and a Change.org petition was created to lobby for it to be on the channel, it failed to reach its goal of 7,500 signatures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Disney boss \u003ca href=\"https://www.newsweek.com/song-south-not-disney-plus-racist-streaming-1471186\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Iger offered an explanation\u003c/a> for the company’s unwillingness to show or sell \u003cem>Song of the South\u003c/em> in 2011. “[It] wouldn’t necessarily sit right or feel right to a number of people today,” he said, and “it wouldn’t be in the best interest of our shareholders to bring it back, even though there would be some financial gain.”\u003c/p>\n\u003cp>So why isn’t that logic applied more widely? The arguments usually touted for keeping these kinds of films around are rooted in general aversions to both censorship and the re-writing of history. But removing obviously racist content from streaming channels doesn’t erase it from our culture any more than taking down statues of slave traders wipes them from the history books. We all know these things existed, and we all know they represent a different time. So why should we still have to look at them uncritically?\u003c/p>\n\u003cp>After HBO Max’s decision to temporarily remove \u003cem>Gone With the Wind\u003c/em>, movie producer Stephanie Allain (\u003cem>Boyz n the Hood\u003c/em>, \u003cem>Hustle & Flow,\u003c/em> \u003cem>Dear White People\u003c/em>) \u003ca href=\"https://www.youtube.com/watch?v=kP7KvyJTZ3w\" target=\"_blank\" rel=\"noopener noreferrer\">told CNN\u003c/a>: “It’s part of our film history, it’s part of American history. I don’t think it can be tucked away and forgotten. I think we have to look at it. But I think it has to be looked at within the context of racism, slavery, the war and where we are today.”\u003c/p>\n\u003cp>Allain is right. An outright ban is not the answer. (Because outright bans are almost never the answer.) And yes, we should study history to better understand the present. But these cinematic artifacts belong in classrooms and libraries, not on 2020’s most popular streaming channels. There is still a mountain of material on these platforms that does people of color a disservice, whether through a general lack of accurate representation, no representation at all or via tales that center on white saviors. (To wit, \u003cem>The Help\u003c/em> has been trending on Netflix all week.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In discussing \u003cem>Gone With the Wind\u003c/em> this week, BBC media editor \u003ca href=\"https://www.bbc.com/news/entertainment-arts-52990714\" target=\"_blank\" rel=\"noopener noreferrer\">Amol Rajan noted\u003c/a>: “The issue at stake here isn’t about one film. It’s about a much broader issue of whether we judge history by modern standards, even while recognizing that what we consider to be modern standards are fluid, contested and will some day themselves be consigned to history. This might be the beginning of a new front in our culture wars, powered by digital media.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s a very optimistic suggestion given the current half-hearted approach. If we can’t get these representations off our televisions at a time where channels are scrambling to reflect the moment (\u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cops\u003c/em> is canceled\u003c/a>; \u003ca href=\"https://deadline.com/2020/06/netflix-creates-collection-of-film-tv-content-highlighting-the-black-experience-1202955269/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix has launched\u003c/a> a collection of “complex narratives about the Black experience”), when can we? When streaming platforms refuse to take decisive action, they don’t just leave us staring at a legacy we should have moved on from, they stall cultural strides forward.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'I May Destroy You' is HBO's New Unforgettable, Unmissable Drama",
"headTitle": "‘I May Destroy You’ is HBO’s New Unforgettable, Unmissable Drama | KQED",
"content": "\u003cp>\u003cem>Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault. \u003c/em>\u003c/p>\n\u003cp>In the first episode of the HBO series \u003cem>I May Destroy You\u003c/em>, Arabella has other things going on before she’s sexually assaulted. She’s trying to meet a book deadline, and she’s worried she can’t, and in the great tradition of writers doing everything else when they can’t write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.\u003c/p>\n\u003cp>But before that, she has friends, she has family, she’s struggling with her path from social media breakout star to author, and she’s navigating a long-distance relationship with a man she met in Italy, where she meant to be writing but then didn’t, quite. Played by creator Michaela Coel, also the writer and star of \u003cem>Chewing Gum\u003c/em>, she’s not a character constructed to be traumatized; she’s a character, full stop.\u003c/p>\n\u003cp>\u003cem>I May Destroy You \u003c/em>is about sexual violence and consent; those themes come up over and over in different stories that change characters in different ways. But it avoids the flatness that would come from drama as a didactic explainer. Arabella’s is a story that widens out to show how being assaulted affects her sex life, her relationships with her friends and her family, her career, her aspirations, and her health. It documents the police investigation without centering it. This is not a whodunit, even though Arabella’s drive to understand what happened propels some of the plot.\u003c/p>\n\u003cp>Coel doesn’t just star in the series. She wrote these 12 episodes herself. She co-directed much of the season with Sam Miller, who’s worked on \u003cem>Luther \u003c/em>and on episodes of everything from \u003cem>Luke Cage \u003c/em>to \u003cem>American Crime\u003c/em>. She’s a producer and the star. Her face is the series’ indelible image. And she based the story of Arabella’s assault on \u003ca href=\"https://www.essence.com/entertainment/michaela-coel-hbo-i-may-destroy-you/\" target=\"_blank\" rel=\"noopener noreferrer\">a night in her own life\u003c/a>. It is, transparently, the most personal of projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You see that personal passion-project quality not only in the writing, but in the way Coel and Miller manage the visual language. The wardrobe and hair and knockabout style of filming conversations among friends are unobtrusive and casual in many stretches of the story, which build to those moments when they are emphatically not. This is not a twitchy, self-conscious style that draws attention to itself for no reason; it’s a reservation of visual emphasis for the places where it belongs. Arabella changes her hair, or she puts on a Halloween costume, and the air around her changes, too. It doesn’t look or sound like any other story. With that said, it also makes excellent use some of the best techniques that have emerged in recent television, including episodes that pause the narrative to pay attention to a different point of view, or a different point in time, to enrich the main story thread.\u003c/p>\n\u003cp>In the early going, \u003cem>I May Destroy You \u003c/em>can feel disorienting, because its upending of conventional crime and trauma story structures is so thorough. If you went in not knowing it was a story about sexual assault, you could watch most of the first episode as a day-in-the-life pilot for a quirky half-hour about a wandering millennial, about the publishing industry, about dating apps, and about social media in general. But this is the wisdom of the writing, at its core: This is how you demonstrate that Arabella existed in full before she was assaulted. She \u003cem>already \u003c/em>had a story unfolding, and a life that a series about her could have followed. She wasn’t simply suspended in air, waiting for something narratively important to happen to her.\u003c/p>\n\u003cp>And just as she had a story already, Arabella had a personality already, and Coel resolutely draws her as a woman who is both traumatized and flawed. The rounded character she would have been in that quirky half-hour about the millennial and the book contract, she still is. She can be insensitive and mean, and she can be just as unaware of other people’s experiences and needs as they are of hers. Arabella and her friends—best friend Terry (Weruche Opia), friends Kwame (Paapa Essiedu) and Simon (Ami Ameen), dreamy Italian boyfriend Biagio (Marouane Zotti)—exist in a web of connections in which they hurt and are hurt, sometimes right and sometimes not. They both buoy and disappoint each other, making \u003cem>I May Destroy You \u003c/em>an outstanding examination of friendship as much as anything.\u003c/p>\n\u003cp>It sometimes helps, when encouraging people to try out an unconventionally structured show, to provide a hint that the overall shape of the story will satisfy. Let’s say only this: After 12 episodes, there is a gut-punch brilliance to how Arabella’s story is brought to a close that it would be wildly unfair to spoil. But know that Coel concludes in a way that’s both formally clever—that feels too slight, but it’s true—and dramatically satisfying. It is the holy grail of a certain kind of drama to find an ending that seems, in retrospect, both surprising and inevitable. And it’s very hard to get that right, but she got there.\u003c/p>\n\u003cp>It’s significant that HBO (together with the BBC) has produced this show at all, particularly given its \u003ca href=\"https://www.huffpost.com/entry/hbo-diversity_n_4899679\" target=\"_blank\" rel=\"noopener noreferrer\">dismal record\u003c/a> when it comes to the diversity of voices that get to make the highly personal, idiosyncratic dramas that have built the brand. (And it’s worth emphasizing, perhaps, that despite being a half-hour show from a woman whose last big project was very funny, this is a drama series.) But it’s equally encouraging, if your eye is on what television networks are supporting, that the show is so particular, and that it comes from a voice that’s so fresh, and that it leads with a frankness that a lot of conventional “gritty” drama series cannot match.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And ultimately, this is a chance to watch a brilliant lead performance. It’s tricky to call an actor mesmerizing, for fear of making her power seem magical rather than the result of craft. But Coel here is magnetic and memorable, for sure, and you won’t be able to take your eyes off her.\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=%27I+May+Destroy+You%27+Is+HBO%27s+New+Unforgettable%2C+Unmissable+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault. \u003c/em>\u003c/p>\n\u003cp>In the first episode of the HBO series \u003cem>I May Destroy You\u003c/em>, Arabella has other things going on before she’s sexually assaulted. She’s trying to meet a book deadline, and she’s worried she can’t, and in the great tradition of writers doing everything else when they can’t write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.\u003c/p>\n\u003cp>But before that, she has friends, she has family, she’s struggling with her path from social media breakout star to author, and she’s navigating a long-distance relationship with a man she met in Italy, where she meant to be writing but then didn’t, quite. Played by creator Michaela Coel, also the writer and star of \u003cem>Chewing Gum\u003c/em>, she’s not a character constructed to be traumatized; she’s a character, full stop.\u003c/p>\n\u003cp>\u003cem>I May Destroy You \u003c/em>is about sexual violence and consent; those themes come up over and over in different stories that change characters in different ways. But it avoids the flatness that would come from drama as a didactic explainer. Arabella’s is a story that widens out to show how being assaulted affects her sex life, her relationships with her friends and her family, her career, her aspirations, and her health. It documents the police investigation without centering it. This is not a whodunit, even though Arabella’s drive to understand what happened propels some of the plot.\u003c/p>\n\u003cp>Coel doesn’t just star in the series. She wrote these 12 episodes herself. She co-directed much of the season with Sam Miller, who’s worked on \u003cem>Luther \u003c/em>and on episodes of everything from \u003cem>Luke Cage \u003c/em>to \u003cem>American Crime\u003c/em>. She’s a producer and the star. Her face is the series’ indelible image. And she based the story of Arabella’s assault on \u003ca href=\"https://www.essence.com/entertainment/michaela-coel-hbo-i-may-destroy-you/\" target=\"_blank\" rel=\"noopener noreferrer\">a night in her own life\u003c/a>. It is, transparently, the most personal of projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You see that personal passion-project quality not only in the writing, but in the way Coel and Miller manage the visual language. The wardrobe and hair and knockabout style of filming conversations among friends are unobtrusive and casual in many stretches of the story, which build to those moments when they are emphatically not. This is not a twitchy, self-conscious style that draws attention to itself for no reason; it’s a reservation of visual emphasis for the places where it belongs. Arabella changes her hair, or she puts on a Halloween costume, and the air around her changes, too. It doesn’t look or sound like any other story. With that said, it also makes excellent use some of the best techniques that have emerged in recent television, including episodes that pause the narrative to pay attention to a different point of view, or a different point in time, to enrich the main story thread.\u003c/p>\n\u003cp>In the early going, \u003cem>I May Destroy You \u003c/em>can feel disorienting, because its upending of conventional crime and trauma story structures is so thorough. If you went in not knowing it was a story about sexual assault, you could watch most of the first episode as a day-in-the-life pilot for a quirky half-hour about a wandering millennial, about the publishing industry, about dating apps, and about social media in general. But this is the wisdom of the writing, at its core: This is how you demonstrate that Arabella existed in full before she was assaulted. She \u003cem>already \u003c/em>had a story unfolding, and a life that a series about her could have followed. She wasn’t simply suspended in air, waiting for something narratively important to happen to her.\u003c/p>\n\u003cp>And just as she had a story already, Arabella had a personality already, and Coel resolutely draws her as a woman who is both traumatized and flawed. The rounded character she would have been in that quirky half-hour about the millennial and the book contract, she still is. She can be insensitive and mean, and she can be just as unaware of other people’s experiences and needs as they are of hers. Arabella and her friends—best friend Terry (Weruche Opia), friends Kwame (Paapa Essiedu) and Simon (Ami Ameen), dreamy Italian boyfriend Biagio (Marouane Zotti)—exist in a web of connections in which they hurt and are hurt, sometimes right and sometimes not. They both buoy and disappoint each other, making \u003cem>I May Destroy You \u003c/em>an outstanding examination of friendship as much as anything.\u003c/p>\n\u003cp>It sometimes helps, when encouraging people to try out an unconventionally structured show, to provide a hint that the overall shape of the story will satisfy. Let’s say only this: After 12 episodes, there is a gut-punch brilliance to how Arabella’s story is brought to a close that it would be wildly unfair to spoil. But know that Coel concludes in a way that’s both formally clever—that feels too slight, but it’s true—and dramatically satisfying. It is the holy grail of a certain kind of drama to find an ending that seems, in retrospect, both surprising and inevitable. And it’s very hard to get that right, but she got there.\u003c/p>\n\u003cp>It’s significant that HBO (together with the BBC) has produced this show at all, particularly given its \u003ca href=\"https://www.huffpost.com/entry/hbo-diversity_n_4899679\" target=\"_blank\" rel=\"noopener noreferrer\">dismal record\u003c/a> when it comes to the diversity of voices that get to make the highly personal, idiosyncratic dramas that have built the brand. (And it’s worth emphasizing, perhaps, that despite being a half-hour show from a woman whose last big project was very funny, this is a drama series.) But it’s equally encouraging, if your eye is on what television networks are supporting, that the show is so particular, and that it comes from a voice that’s so fresh, and that it leads with a frankness that a lot of conventional “gritty” drama series cannot match.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kimmel and Colbert, Bee and Fallon et al., pay attention: Elmo did not come to play. For the inaugural episode of \u003cem>The Not-Too-Late Show With Elmo\u003c/em>, made available Wednesday through HBO Max, Elmo brought some serious wattage, inviting both \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener noreferrer\">Kacey Musgraves\u003c/a> to perform two signature songs from \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>No artist finds more creative and consistent ways to remix, reconfigure and reimagine the same song over and over again than Lil Nas X, so the country-rap star was a perfect choice for helping to put a new spin on the well-tread “Elmo’s Song.”\u003c/p>\n\u003cp>In the clip, Elmo introduces Nas, who comes out in a typically bright outfit and launches into a hip-hop-infused remix of the beloved puppet’s signature tune, supported by the show’s house band (composed entirely of other \u003cem>Sesame Street \u003c/em>puppets).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4BS8BXEB_k&feature=emb_logo\u003c/p>\n\u003cp>Elmo knows Lil Nas X is for the children—his \u003cem>Not-Too-Late Show\u003c/em> appearance comes almost exactly a year after he \u003ca href=\"https://twitter.com/complex/status/1133796630942113793?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">transformed an elementary school gym\u003c/a> into the world’s rowdiest concert venue, with just the opening chorus of “Old Town Road.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musgraves, meanwhile, took a more straightforward, but no less endearing, approach. For her appearance, she went to the microphone with just her acoustic guitar and performed a joyful rendition of “Rubber Duckie” with the same level of earnestness that she brought to her \u003ca href=\"https://www.npr.org/2019/12/21/789753458/the-kacey-musgraves-christmas-show-revives-a-classic-holiday-tradition\" target=\"_blank\" rel=\"noopener noreferrer\">recent Christmas special\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=pJcZoYCEhG0&feature=emb_logo\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=Watch+Lil+Nas+X+And+Kacey+Musgraves+Help+Elmo+Debut+A+New+Talk+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kimmel and Colbert, Bee and Fallon et al., pay attention: Elmo did not come to play. For the inaugural episode of \u003cem>The Not-Too-Late Show With Elmo\u003c/em>, made available Wednesday through HBO Max, Elmo brought some serious wattage, inviting both \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener noreferrer\">Kacey Musgraves\u003c/a> to perform two signature songs from \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>No artist finds more creative and consistent ways to remix, reconfigure and reimagine the same song over and over again than Lil Nas X, so the country-rap star was a perfect choice for helping to put a new spin on the well-tread “Elmo’s Song.”\u003c/p>\n\u003cp>In the clip, Elmo introduces Nas, who comes out in a typically bright outfit and launches into a hip-hop-infused remix of the beloved puppet’s signature tune, supported by the show’s house band (composed entirely of other \u003cem>Sesame Street \u003c/em>puppets).\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/J4BS8BXEB_k'\n title='//www.youtube.com/embed/J4BS8BXEB_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elmo knows Lil Nas X is for the children—his \u003cem>Not-Too-Late Show\u003c/em> appearance comes almost exactly a year after he \u003ca href=\"https://twitter.com/complex/status/1133796630942113793?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">transformed an elementary school gym\u003c/a> into the world’s rowdiest concert venue, with just the opening chorus of “Old Town Road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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