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"content": "\u003cp>“With everything else going on in the world, now I gotta spend almost nine hours of my life thinking about Phyllis Schlafly?”\u003c/p>\n\u003cp>It only seems honest to admit to this reaction to the approach of \u003cem>Mrs. America\u003c/em>, a nine-part miniseries created by Dahvi Waller. It was made under the FX Networks umbrella, but it’s available only on Hulu, which drops the first three episodes on April 15. The series is not exclusively interested in Schlafly, but she is its point of greatest fascination, as it tells the story of the battle over the Equal Rights Amendment in the 1970s.\u003c/p>\n\u003cp>What has set \u003cem>Mrs. America \u003c/em>apart since it was announced is its large and impressive cast: Cate Blanchett as Schlafly, the conservative woman who railed against feminists as immoral opponents of decent housewives everywhere and successfully generated a large backlash against the ERA. Rose Byrne as Gloria Steinem, the creator of \u003cem>Ms. \u003c/em>magazine and a representative of the movement whose prominence would remain controversial both inside and outside it. Uzo Aduba as Shirley Chisholm, the presidential candidate who found much of second-wave feminism to be, at best, condescending to her candidacy. Margo Martindale as New York congresswoman Bella Abzug, Tracey Ullman as influential author Betty Friedan, and on and on and on.\u003c/p>\n\u003cp>At the center is Blanchett’s deployment of her most patrician affect (which is saying something) to portray Schlafly as an ambitious woman eager to gather power, who originally tries to obtain it as a foreign policy commentator. Finding that door largely closed to her—in part because of sexism—she realizes that while they don’t want her opinions on foreign policy, she is very much welcomed by the male politicians in her circle when she is fighting and deriding other women. Feminists, specifically. Blanchett’s version of Schlafly adopts her antifeminist positions more because they are her path to power than because they are her greatest passion, although there’s plenty to indicate she believes in them at least enough to support their imposition on other women. (As other characters repeatedly point out, Schlafly herself is hardly living the life she advocates as the one most noble for women: Far from a housewife, she is essentially a professional full-time lobbyist.)\u003c/p>\n\u003cp>It’s curious. The performances in \u003cem>Mrs. America \u003c/em>are, as you’d expect, uniformly excellent. But there is something that feels not quite complete about it. Perhaps it’s that the series’ reach exceeded its grasp. Because about half of the narrative energy is spent on Schlafly and about half on all the women in the feminist movement put together, they all, despite the marvelous and nuanced portrayals, struggle to be fully realized. Martindale has a couple of very moving scenes as Abzug, whose moment is passing between the beginning of the 1970s and the end, and whose carefully crafted political skill becomes disappointing for the women who want her to stand firmer on matters like gay rights and racism. Byrne shines in the moments when Steinem proves young enough and progressive enough to be more aware than some of her colleagues of the racism inherent in the movement she’s helping to lead, but not quite able—or is it willing?—to make eradicating it a priority.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, it’s almost inevitable in a historical sweep like this that some stories will seem to get short shrift. Chisholm’s presidential campaign is a big part of a single episode and Aduba drives it brilliantly, creating a Chisholm who’s wise in general as well as wisely skeptical of figures like Steinem and Abzug. But she’s absent from long stretches of the story. Similarly, it would have been great to see more of Niecy Nash as Flo Kennedy, a character who shoots off sparks in every scene in which she appears. It’s refreshing, and it’s essential, that \u003cem>Mrs. America\u003c/em> is transparently cognizant of the lack of commitment the women’s movement has often shown to black women, poor women, lesbians, and other constituencies not well-represented in its leadership. But it perhaps needed more of this part of the story, told through the lens of these characters—more, more. More of Aduba and Nash and of Bria Henderson as the editor and activist Margaret Sloan-Hunter. More of Annie Parisse and Anna Douglas, who play Midge Costanza and Jean O’Leary, who want nothing to do with a movement that still welcomes Friedan, whose opposition to embracing lesbians as part of the women’s movement lasted years.\u003c/p>\n\u003cp>Moreover, because there are so many of them and there’s so much stage-setting to do and so much updating about what’s actually going on in the decade or so that’s covered here, the women on the ERA YES side spend a lot of their time explicitly explaining and expositing on matters of feminism, feminist strategy, and internal movement politics. Where Schlafly gets at least some scenes with her children and husband that don’t revolve around her explaining her beliefs about the ERA, the women working with Abzug and Steinem rarely do anything except tell you what they’re going to do next and why, and who’s fighting with whom. Rifts like the long-standing (and well-known) one between Steinem and Friedan are more documented than illuminated, simply because of the limitations of time. Nevertheless, the time spent with these characters is never boring, simply because the acting is so good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tiariKwWvhI\u003c/p>\n\u003cp>What doesn’t work as well is a composite character named Alice, played by Sarah Paulson—also a tremendous actress, here given a disappointing role. One of Schafly’s early acolytes and a close friend, Alice’s growing doubts are the least satisfying subplot on offer in all nine episodes. That’s partly because Alice seems like precisely what she is: a made-up person among icons, cooked up to make a specific point. But it’s also because by the time we spend most of an episode watching Alice contemplate whether she wants to remain on Team Schlafly, the question of whether this comfortable, well-off woman will finally push back after ignoring years of clear signals that Schlafly’s movement contains elements that trouble her morally, her plight seems exceedingly low-stakes, compared to everything else that’s happening. Cognitive dissonance is a distraction when it’s framed against, say, civil rights.\u003c/p>\n\u003cp>But back to Schlafly, where we began.\u003c/p>\n\u003cp>If it is meant to be inherently perplexing, and thus fascinating, that a woman who has experienced sexism herself would take up the cause of antifeminism, or that anyone from any other group would assume a position of hostility against what seem to be their own interests. We are surely past that now. If the central question of the series is what made Schlafly choose this cause, the answer it provides is simple: because it was there. Because this was the place in which powerful men found her most useful, and therefore it was the place in which she was able to gain a toehold to eventually accumulate power of her own, which she could flex independently.\u003c/p>\n\u003cp>The Schlafly you see here is as much an opportunist as a believer, although she is surely both. There are suggestions that she bristles at the arrogance of her lawyer husband Fred (John Slattery) and privately enjoys the moments in which her stardom eclipses him. But the answer that the series provides about Schlafly’s fundamental (so to speak) qualities goes like this: she wants power, she lacks empathy, and she’s very effective at creating baseless fears in people that she can then exploit. It’s profoundly depressing to watch, and it’s very plausible. But does it enlighten? Is this something different from what you might expect to learn?\u003c/p>\n\u003cp>\u003cem>Mrs. America \u003c/em>doesn’t ask you to sympathize with Phyllis Schlafly, exactly; it is unsparing in drawing her as a tremendously unkind and destructive person—and, increasingly as it goes on, a dishonest one. But it does seek to explain something about her. It seeks to use the story of her as a way to explain how power works and how politics works, as well as how the ERA came to fail after looking like it was on a clear path to ratification. But perhaps we are past needing all of this explained. Perhaps that is why the story of Schlafly feels wearying.\u003c/p>\n\u003cp>To be clear, \u003cem>Mrs. America \u003c/em>is made well; in particular, it’s directed and edited well and acted very well. There are some playful and clever juxtapositions in the editing, as when you jump from a very sexy scene to one in which Schlafly is dutifully rubbing her husband’s tired calves. The re-creation of the aesthetic of the period is gorgeous and feels truthful, looking like the 1970s rather than a send-up of the 1970s. Across nine episodes, it never feels dull, even though it does sometimes feel a bit speechy. It doesn’t give in to too many of those moments in historical pieces in which names are dropped in a wink-wink kind of way, as when Schlafly meets two young men late in the series who seem unimportant and then introduce themselves as Roger Stone and Paul Manafort. Or when a young woman helping with the legal work is told, at the close of her one significant scene that perhaps she should assume a higher-profile role—and then she is addressed as “Mrs. Ginsburg.” Winkety-wink.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But something seems amiss, separate from the filmmaking, separate from the artistry. Maybe it’s just that it can be hard to separate \u003cem>Mrs. America\u003c/em>‘s utter bleakness from its quality. Its conviction that determined public figures can persuade people to turn on their neighbors in response to invented threats is hard to argue with, but hardly a proposition for which one needs to turn to fiction—even historical fiction. As the old Palmolive ad of this era would have said: we’re soaking in it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mrs.+America%27%3A+A+Star-Studded+Cast+Puts+The+ERA+In+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“With everything else going on in the world, now I gotta spend almost nine hours of my life thinking about Phyllis Schlafly?”\u003c/p>\n\u003cp>It only seems honest to admit to this reaction to the approach of \u003cem>Mrs. America\u003c/em>, a nine-part miniseries created by Dahvi Waller. It was made under the FX Networks umbrella, but it’s available only on Hulu, which drops the first three episodes on April 15. The series is not exclusively interested in Schlafly, but she is its point of greatest fascination, as it tells the story of the battle over the Equal Rights Amendment in the 1970s.\u003c/p>\n\u003cp>What has set \u003cem>Mrs. America \u003c/em>apart since it was announced is its large and impressive cast: Cate Blanchett as Schlafly, the conservative woman who railed against feminists as immoral opponents of decent housewives everywhere and successfully generated a large backlash against the ERA. Rose Byrne as Gloria Steinem, the creator of \u003cem>Ms. \u003c/em>magazine and a representative of the movement whose prominence would remain controversial both inside and outside it. Uzo Aduba as Shirley Chisholm, the presidential candidate who found much of second-wave feminism to be, at best, condescending to her candidacy. Margo Martindale as New York congresswoman Bella Abzug, Tracey Ullman as influential author Betty Friedan, and on and on and on.\u003c/p>\n\u003cp>At the center is Blanchett’s deployment of her most patrician affect (which is saying something) to portray Schlafly as an ambitious woman eager to gather power, who originally tries to obtain it as a foreign policy commentator. Finding that door largely closed to her—in part because of sexism—she realizes that while they don’t want her opinions on foreign policy, she is very much welcomed by the male politicians in her circle when she is fighting and deriding other women. Feminists, specifically. Blanchett’s version of Schlafly adopts her antifeminist positions more because they are her path to power than because they are her greatest passion, although there’s plenty to indicate she believes in them at least enough to support their imposition on other women. (As other characters repeatedly point out, Schlafly herself is hardly living the life she advocates as the one most noble for women: Far from a housewife, she is essentially a professional full-time lobbyist.)\u003c/p>\n\u003cp>It’s curious. The performances in \u003cem>Mrs. America \u003c/em>are, as you’d expect, uniformly excellent. But there is something that feels not quite complete about it. Perhaps it’s that the series’ reach exceeded its grasp. Because about half of the narrative energy is spent on Schlafly and about half on all the women in the feminist movement put together, they all, despite the marvelous and nuanced portrayals, struggle to be fully realized. Martindale has a couple of very moving scenes as Abzug, whose moment is passing between the beginning of the 1970s and the end, and whose carefully crafted political skill becomes disappointing for the women who want her to stand firmer on matters like gay rights and racism. Byrne shines in the moments when Steinem proves young enough and progressive enough to be more aware than some of her colleagues of the racism inherent in the movement she’s helping to lead, but not quite able—or is it willing?—to make eradicating it a priority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, it’s almost inevitable in a historical sweep like this that some stories will seem to get short shrift. Chisholm’s presidential campaign is a big part of a single episode and Aduba drives it brilliantly, creating a Chisholm who’s wise in general as well as wisely skeptical of figures like Steinem and Abzug. But she’s absent from long stretches of the story. Similarly, it would have been great to see more of Niecy Nash as Flo Kennedy, a character who shoots off sparks in every scene in which she appears. It’s refreshing, and it’s essential, that \u003cem>Mrs. America\u003c/em> is transparently cognizant of the lack of commitment the women’s movement has often shown to black women, poor women, lesbians, and other constituencies not well-represented in its leadership. But it perhaps needed more of this part of the story, told through the lens of these characters—more, more. More of Aduba and Nash and of Bria Henderson as the editor and activist Margaret Sloan-Hunter. More of Annie Parisse and Anna Douglas, who play Midge Costanza and Jean O’Leary, who want nothing to do with a movement that still welcomes Friedan, whose opposition to embracing lesbians as part of the women’s movement lasted years.\u003c/p>\n\u003cp>Moreover, because there are so many of them and there’s so much stage-setting to do and so much updating about what’s actually going on in the decade or so that’s covered here, the women on the ERA YES side spend a lot of their time explicitly explaining and expositing on matters of feminism, feminist strategy, and internal movement politics. Where Schlafly gets at least some scenes with her children and husband that don’t revolve around her explaining her beliefs about the ERA, the women working with Abzug and Steinem rarely do anything except tell you what they’re going to do next and why, and who’s fighting with whom. Rifts like the long-standing (and well-known) one between Steinem and Friedan are more documented than illuminated, simply because of the limitations of time. Nevertheless, the time spent with these characters is never boring, simply because the acting is so good.\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/tiariKwWvhI'\n title='//www.youtube.com/embed/tiariKwWvhI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What doesn’t work as well is a composite character named Alice, played by Sarah Paulson—also a tremendous actress, here given a disappointing role. One of Schafly’s early acolytes and a close friend, Alice’s growing doubts are the least satisfying subplot on offer in all nine episodes. That’s partly because Alice seems like precisely what she is: a made-up person among icons, cooked up to make a specific point. But it’s also because by the time we spend most of an episode watching Alice contemplate whether she wants to remain on Team Schlafly, the question of whether this comfortable, well-off woman will finally push back after ignoring years of clear signals that Schlafly’s movement contains elements that trouble her morally, her plight seems exceedingly low-stakes, compared to everything else that’s happening. Cognitive dissonance is a distraction when it’s framed against, say, civil rights.\u003c/p>\n\u003cp>But back to Schlafly, where we began.\u003c/p>\n\u003cp>If it is meant to be inherently perplexing, and thus fascinating, that a woman who has experienced sexism herself would take up the cause of antifeminism, or that anyone from any other group would assume a position of hostility against what seem to be their own interests. We are surely past that now. If the central question of the series is what made Schlafly choose this cause, the answer it provides is simple: because it was there. Because this was the place in which powerful men found her most useful, and therefore it was the place in which she was able to gain a toehold to eventually accumulate power of her own, which she could flex independently.\u003c/p>\n\u003cp>The Schlafly you see here is as much an opportunist as a believer, although she is surely both. There are suggestions that she bristles at the arrogance of her lawyer husband Fred (John Slattery) and privately enjoys the moments in which her stardom eclipses him. But the answer that the series provides about Schlafly’s fundamental (so to speak) qualities goes like this: she wants power, she lacks empathy, and she’s very effective at creating baseless fears in people that she can then exploit. It’s profoundly depressing to watch, and it’s very plausible. But does it enlighten? Is this something different from what you might expect to learn?\u003c/p>\n\u003cp>\u003cem>Mrs. America \u003c/em>doesn’t ask you to sympathize with Phyllis Schlafly, exactly; it is unsparing in drawing her as a tremendously unkind and destructive person—and, increasingly as it goes on, a dishonest one. But it does seek to explain something about her. It seeks to use the story of her as a way to explain how power works and how politics works, as well as how the ERA came to fail after looking like it was on a clear path to ratification. But perhaps we are past needing all of this explained. Perhaps that is why the story of Schlafly feels wearying.\u003c/p>\n\u003cp>To be clear, \u003cem>Mrs. America \u003c/em>is made well; in particular, it’s directed and edited well and acted very well. There are some playful and clever juxtapositions in the editing, as when you jump from a very sexy scene to one in which Schlafly is dutifully rubbing her husband’s tired calves. The re-creation of the aesthetic of the period is gorgeous and feels truthful, looking like the 1970s rather than a send-up of the 1970s. Across nine episodes, it never feels dull, even though it does sometimes feel a bit speechy. It doesn’t give in to too many of those moments in historical pieces in which names are dropped in a wink-wink kind of way, as when Schlafly meets two young men late in the series who seem unimportant and then introduce themselves as Roger Stone and Paul Manafort. Or when a young woman helping with the legal work is told, at the close of her one significant scene that perhaps she should assume a higher-profile role—and then she is addressed as “Mrs. Ginsburg.” Winkety-wink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But something seems amiss, separate from the filmmaking, separate from the artistry. Maybe it’s just that it can be hard to separate \u003cem>Mrs. America\u003c/em>‘s utter bleakness from its quality. Its conviction that determined public figures can persuade people to turn on their neighbors in response to invented threats is hard to argue with, but hardly a proposition for which one needs to turn to fiction—even historical fiction. As the old Palmolive ad of this era would have said: we’re soaking in it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mrs.+America%27%3A+A+Star-Studded+Cast+Puts+The+ERA+In+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Run,' Do Not Walk: HBO's New Smart, Spiky, Sexy Comedy/Thriller",
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"content": "\u003cp>The premise is big, bold, even broad: When they broke up in college, fifteen years ago, Ruby (Merritt Wever) and Billy (Domhnall Gleeson) promised each other that if either one of them ever texted the word “RUN” to the other … \u003cem>and \u003c/em>the other texted it back, they would drop everything and meet in Grand Central Station, hop on a cross-country train, and see what happened.\u003c/p>\n\u003cp>See? Big idea. High concept. Great elevator pitch. Sold in the room.\u003c/p>\n\u003cp>The execution, as it’s carried out by Wever, Gleeson and showrunner Vicky Jones, is smartly, bracingly small. Grounded. Precise. Detailed. Real.\u003c/p>\n\u003cp>That contrast is why HBO’s \u003cem>Run \u003c/em>is the best new show of 2020.\u003c/p>\n\u003cp>The notion of running away from your commitments to hook up with an ex is, after all, quite literally an escapist fantasy. It seems like it to us, and it seems like it to Ruby and Billy. The fun of the opening few minutes of the seven-episode series (five of which have been screened for press) is the thrill of chasing an impulse. They’re having a ball, and so are we.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But impulsive actions bring a kind of joy that’s bound up with disorder. Chaos isn’t a by-product, it’s part of the appeal. \u003cem>Run \u003c/em>knows that—and it knows that when Ruby and Billy do see each other again, they will each come to that encounter with the conviction that the past fifteen years of their real lives never happened, that they can pick up where they left off, that they can be the selves they were 15 years ago.\u003c/p>\n\u003cp>They can’t, of course, and the many tiny ways this begins to dawn on them—we watch it happening in the tilt of Wever’s head, in the way Gleeson’s eyes jitter in his face—makes for a kind of ruefully knowing comedy. We can see how much they’ve idealized this reunion over the years, which makes every moment they actually spend together sexy, and dangerous—and fragile.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9gnW8TAP2U\u003c/p>\n\u003cp>Again and again, their idyll threatens to shatter—a bit of flirty banter goes awry, or a wave of guilt crashes over one or the other, or a muttered aside inflicts a deep wound. But they keep coming back, and before too long the pressures that endanger their time together shift from internal to external. This transition happens a few episodes in, when the series slides from rom-com to thriller… um …-com.\u003c/p>\n\u003cp>Creator Vicky Jones, who directed the original stage version of \u003cem>Fleabag\u003c/em>, plays with time in a smart, revealing way. We do get flashbacks, but they aren’t what we’re expecting to see—college-age Ruby and Billy, making the pact—they’re moments that, doled out over the course of the series as they are, directly affect our perceptions of these characters in the current moment. They don’t fill in tedious backstory, they change our understanding of what we’re seeing. The show knows that we’ve got everything we need to know about that college relationship—Wever and Gleeson are showing it to us every moment they share the screen.\u003c/p>\n\u003cp>Wever is great, here—sliding her warm, lilting voice up and down her register in a way that switches from flirty to furious and back again, often within a single line of dialogue. Gleeson is funny without ever lunging at a joke (note the way he subtly dials up his Irish accent to Full Lucky Charms Leprechaun, when someone whose help he requires tells him they’re part Irish). The performances are layered enough for us to look past Ruby’s selfishness and Billy’s shadiness and still root for them. Even Rich Sommer, as the husband Ruby left in the lurch, gets a scene or two to invest his character with deeper levels than expected.\u003c/p>\n\u003cp>Executive produced by Phoebe Waller-Bridge (who shows up for a brief cameo), \u003cem>Run \u003c/em>shares a sensibility with both \u003cem>Fleabag \u003c/em>and \u003cem>Killing Eve\u003c/em>—a clear-eyed intelligence about adult sexuality combined with a sense of humor that explores interpersonal dynamics without relying on familiar tropes. In fact, that mid-season turn from romantic comedy to thriller feels like a transition from \u003cem>Fleabag \u003c/em>(smart, sexy comedy) to \u003cem>Killing Eve\u003c/em> (propulsive, twisty plot, raised stakes).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is not to say that anything about \u003cem>Run \u003c/em>feels derivative of those shows. It’s its own thing, clearly, and what that is happens to be just what this cultural moment demands—two actors at the top of their game in a story that’s fun, funny, sexy and, more than anything else, smart.\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=%27Run%2C%27+Do+Not+Walk%3A+HBO%27s+New+Smart%2C+Spiky%2C+Sexy+Comedy%2FThriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>This week, “fake doctors” from our TV screens released a heartfelt but funny video, thanking real-life medical professionals everywhere.\u003c/p>\n\u003cp>The stars of \u003cem>House\u003c/em>, \u003cem>ER\u003c/em>, \u003cem>Scrubs\u003c/em>, \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Nurse Jackie\u003c/em> and \u003cem>The Good Doctor\u003c/em> stepped up to show appreciation. They each gave thanks to everyone “on the front lines”—including ER doctors, nurses, technicians, EMTs, first responders, administrators, cafeteria staff, cleaning staff, volunteers and carers—working unfathomably hard during the coronavirus crisis. [aside postid='arts_13877066']\u003c/p>\n\u003cp>The four-minute video has the distinction of succeeding where the now-infamous celebrity montage of “\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">Imagine\u003c/a>” did not. Firstly, it’s useful, offering clear directions at the end of the clip on how to pitch in to help real-life healthcare workers. Secondly, it’s funny! Mostly, it must be noted, because of the input of Neil Patrick Harris, who played the titular character in \u003cem>Doogie Howser, M.D.\u003c/em> between 1989 and 1993. Let’s just assume he’s joking about those fake prescriptions…\u003c/p>\n\u003cp>https://www.instagram.com/p/B-srqxSn3nl/\u003c/p>\n\u003cp>Healthcare workers around the country immediately flooded \u003ca href=\"https://www.instagram.com/tv/B-srqxSn3nl/\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Wilde’s Instagram page\u003c/a> with messages of thanks, after the \u003cem>House\u003c/em> star posted the video. One, @the_ram87, wrote: “Im an RN from Cali helping in NY and I love everything about this – totally just made my day!! 😍” Another, @duckmedic8 noted: “I’m a Paramedic down in Georgia and I greatly appreciate this video!! Much needed!! Stay Safe! ❤️🚑”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Healthcare workers around the country immediately flooded \u003ca href=\"https://www.instagram.com/tv/B-srqxSn3nl/\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Wilde’s Instagram page\u003c/a> with messages of thanks, after the \u003cem>House\u003c/em> star posted the video. One, @the_ram87, wrote: “Im an RN from Cali helping in NY and I love everything about this – totally just made my day!! 😍” Another, @duckmedic8 noted: “I’m a Paramedic down in Georgia and I greatly appreciate this video!! Much needed!! Stay Safe! ❤️🚑”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Need An Escape? Try 'Unorthodox,' 'Baghdad Central' and 'Abigail'",
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"content": "\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-zVhRId0BTw\u003c/p>\n\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JxQXiIjYiwo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\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=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\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/-zVhRId0BTw'\n title='//www.youtube.com/embed/-zVhRId0BTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\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/JxQXiIjYiwo'\n title='//www.youtube.com/embed/JxQXiIjYiwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\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=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Short Attention Span Theater: A Quick Look at Quibi's Launch Titles",
"headTitle": "Short Attention Span Theater: A Quick Look at Quibi’s Launch Titles | KQED",
"content": "\u003cp>The streaming service Quibi—short for “quick bites”—calls itself “the first entertainment platform designed specifically for your phone.”\u003c/p>\n\u003cp>Translation: They’re doling out their shows in 7-to-10-minute chunks—er, episodes—at a rate of one per day. Quick bites, get it? Perfect for the busy, distracted, on-the-go consumer! Too bad none of us are on-the-going anywhere these days.\u003c/p>\n\u003cp>Quibi divides its shows into three categories: Movies in Chapters (read: serialized narrative), Unscripted and Documentaries (read: episodic nonfiction) and Daily Essentials.\u003c/p>\n\u003cp>None of the “Daily Essentials” were available to screen before launch, but these will evidently focus on being topical—the latest in news, entertainment, fashion, etc. (Were we betting types, we’d say that Quibi’s version of the podcast \u003cem>The Nod \u003c/em>would be worth checking out.)\u003c/p>\n\u003cp>Quibi launches with 50 shows, and there’s evidently 125 more on the way. After a free trial period, It’ll cost you 4.99 a month with ads, and 7.99 a month without. This opening batch of shows is a decidedly mixed bag, but then, how could it not be?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are our picks from the shows that were screened for press.\u003c/p>\n\u003cp>\u003cstrong>Glen’s Picks\u003c/strong>\u003c/p>\n\u003cp>I checked out the four Movies in Chapters that Quibi launched with, and while I can’t Quibible (heh) with their production quality, I didn’t love the experience of following a story in such a herky-jerky fashion. The issue, for me, was that the episodes didn’t feel like satisfying, self-contained chapters—it just felt like I was watching a movie and kept getting interrupted. Also, pacing becomes a looming concern—in the show \u003cem>Survive\u003c/em>, for example, the premise doesn’t kick in until episode 4.\u003c/p>\n\u003cp>Of the four Movies in Chapters that Quibi launched with, I was most partial to \u003cem>Flipped\u003c/em>, in which Will Forte and Kaitlin Olson play a couple of self-deluded jerks determined to become home-improvement television stars. It won’t be to everyone’s taste—Forte and Olson’s characters are terrible people, and the show relishes demonstrating that—but I liked it well enough. (Arturo Castro shows up at the end of Episode 3, which bodes well.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fWrd4mhGhwg\u003c/p>\n\u003cp>But for me, the shows that I most wanted to see more of fell into the Unscripted/Documentary category. Here they are.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Memory Hole\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Host Will Arnett makes fun of cheesy ’80s pop culture ephemera. That’s it, that’s the show, and it’s great. From the Super Bowl Shuffle and its unholy offspring to the fiasco that was the opening celebration for Toronto’s SkyDome, to \u003cem>Gymkata\u003c/em>, smart writing and Arnett’s gravel-voiced delivery … deliver.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gayme Show\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two straight men compete to be crowned “Honorarily Gay as F***” by a panel of queer and queer-adjacent judges. It shouldn’t work—so why does it? Casting. Crucially, the contestants, judges and hosts all come from the New York/LA comedy scenes—the chemistry is friendly and funny, and the tone is spot on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_NI1XOJESRQ\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dishmantled\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two blindfolded chefs don bodysuits and get blasted in the face—seriously, there are cannons involved—with a mystery entree, which they must then taste, guess and re-create in 30 minutes, while Tituss Burgess yells at them. It’s just as dumb as it sounds, but it knows that, so it’s … a lot of fun?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Sauce\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hosts Ayo and Teo travel from city to city pitting two dance crews against each other. Teams are given a song, three dance moves to execute and 30 minutes to choreograph. The dancing is impressive, but the show goes out of the way to unpack the technical skills on display.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4TCUJZoaQI4\u003c/p>\n\u003cp>\u003cem>\u003cstrong>NightGowns with Sasha Velour \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Profiles one of the thinkiest, artiest queens out there as she puts together a drag revue featuring a diverse roster of divas and … divos? Drag fans and process nerds, unite!\u003c/p>\n\u003cp>\u003cstrong>Linda’s Picks\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Note: I should say first that Glen’s tour of Quibi was more thorough than mine. While he’s watched everything they sent to press, I’ve dipped in and out a little more. But I did find some things I think are worth checking out. And, like Glen, I gravitated toward the documentary/reality stuff more than the narrative stuff. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Chrissy’s Court\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>If you like your stakes low and your production values shaggy—in the fun way—you might get a kick out of Chrissy Teigen hosting her own courtroom show. With her mom as bailiff, she judges disputes that are goofy rather than ugly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojVPXD09x4U\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Shape Of Pasta\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The tone has a self-seriousness that makes it seem at first like it might be parody, which is an issue for a couple of Quibi shows. But this is actually a very earnest food show about … well, lesser-known shapes of pasta, which chef Evan Funke travels to Italy to discover.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>&Music\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This series looks at fields that exist alongside music performance. The first episode, for instance, deals with how elaborate light shows are designed for live performances. If you’re the kind of person who goes for “interesting job” stories, it might be up your alley.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Prodigy\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Soccer superstar Megan Rapinoe is the host of \u003cem>Prodigy\u003c/em>, which spotlights young athletes who might be the next big thing—like Jalen Green, the No. 1 high school basketball player in the country. It’s an effort to do in-depth sports profiles one step before they usually happen, and to identify what it looks like as someone transitions from an ordinary good athlete to potentially A Big Deal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UG5St5asH8o\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Most Dangerous Game\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t think it would be fair to share impressions of this, my one narrative mention, without disclosing that the screener had, over a show intended to be watched on a phone/tablet, three different watermarks (stuff they splatter over the screen so you can’t upload it to piracy sites), plus a running clock up in the corner. It’s almost impossible to judge how immersive this Liam Hemsworth/Christoph Waltz series might be if not for that fact, but I will give a shot to just about anything Waltz is in, including this story in which he plays a rich weirdo who pays Hemsworth to go forth and be hunted for sport.\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=Short+Attention+Span+Theater%3A+A+Quick+Look+At+Quibi%27s+Launch+Titles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The streaming service \"designed specifically for your phone\" launches with 50 shows—and over 100 more on the way. Here are our highlights from the opening batch.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The streaming service Quibi—short for “quick bites”—calls itself “the first entertainment platform designed specifically for your phone.”\u003c/p>\n\u003cp>Translation: They’re doling out their shows in 7-to-10-minute chunks—er, episodes—at a rate of one per day. Quick bites, get it? Perfect for the busy, distracted, on-the-go consumer! Too bad none of us are on-the-going anywhere these days.\u003c/p>\n\u003cp>Quibi divides its shows into three categories: Movies in Chapters (read: serialized narrative), Unscripted and Documentaries (read: episodic nonfiction) and Daily Essentials.\u003c/p>\n\u003cp>None of the “Daily Essentials” were available to screen before launch, but these will evidently focus on being topical—the latest in news, entertainment, fashion, etc. (Were we betting types, we’d say that Quibi’s version of the podcast \u003cem>The Nod \u003c/em>would be worth checking out.)\u003c/p>\n\u003cp>Quibi launches with 50 shows, and there’s evidently 125 more on the way. After a free trial period, It’ll cost you 4.99 a month with ads, and 7.99 a month without. This opening batch of shows is a decidedly mixed bag, but then, how could it not be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are our picks from the shows that were screened for press.\u003c/p>\n\u003cp>\u003cstrong>Glen’s Picks\u003c/strong>\u003c/p>\n\u003cp>I checked out the four Movies in Chapters that Quibi launched with, and while I can’t Quibible (heh) with their production quality, I didn’t love the experience of following a story in such a herky-jerky fashion. The issue, for me, was that the episodes didn’t feel like satisfying, self-contained chapters—it just felt like I was watching a movie and kept getting interrupted. Also, pacing becomes a looming concern—in the show \u003cem>Survive\u003c/em>, for example, the premise doesn’t kick in until episode 4.\u003c/p>\n\u003cp>Of the four Movies in Chapters that Quibi launched with, I was most partial to \u003cem>Flipped\u003c/em>, in which Will Forte and Kaitlin Olson play a couple of self-deluded jerks determined to become home-improvement television stars. It won’t be to everyone’s taste—Forte and Olson’s characters are terrible people, and the show relishes demonstrating that—but I liked it well enough. (Arturo Castro shows up at the end of Episode 3, which bodes well.)\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/fWrd4mhGhwg'\n title='//www.youtube.com/embed/fWrd4mhGhwg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But for me, the shows that I most wanted to see more of fell into the Unscripted/Documentary category. Here they are.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Memory Hole\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Host Will Arnett makes fun of cheesy ’80s pop culture ephemera. That’s it, that’s the show, and it’s great. From the Super Bowl Shuffle and its unholy offspring to the fiasco that was the opening celebration for Toronto’s SkyDome, to \u003cem>Gymkata\u003c/em>, smart writing and Arnett’s gravel-voiced delivery … deliver.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gayme Show\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two straight men compete to be crowned “Honorarily Gay as F***” by a panel of queer and queer-adjacent judges. It shouldn’t work—so why does it? Casting. Crucially, the contestants, judges and hosts all come from the New York/LA comedy scenes—the chemistry is friendly and funny, and the tone is spot on.\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/_NI1XOJESRQ'\n title='//www.youtube.com/embed/_NI1XOJESRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Dishmantled\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two blindfolded chefs don bodysuits and get blasted in the face—seriously, there are cannons involved—with a mystery entree, which they must then taste, guess and re-create in 30 minutes, while Tituss Burgess yells at them. It’s just as dumb as it sounds, but it knows that, so it’s … a lot of fun?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Sauce\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hosts Ayo and Teo travel from city to city pitting two dance crews against each other. Teams are given a song, three dance moves to execute and 30 minutes to choreograph. The dancing is impressive, but the show goes out of the way to unpack the technical skills on display.\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/4TCUJZoaQI4'\n title='//www.youtube.com/embed/4TCUJZoaQI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>NightGowns with Sasha Velour \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Profiles one of the thinkiest, artiest queens out there as she puts together a drag revue featuring a diverse roster of divas and … divos? Drag fans and process nerds, unite!\u003c/p>\n\u003cp>\u003cstrong>Linda’s Picks\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Note: I should say first that Glen’s tour of Quibi was more thorough than mine. While he’s watched everything they sent to press, I’ve dipped in and out a little more. But I did find some things I think are worth checking out. And, like Glen, I gravitated toward the documentary/reality stuff more than the narrative stuff. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Chrissy’s Court\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>If you like your stakes low and your production values shaggy—in the fun way—you might get a kick out of Chrissy Teigen hosting her own courtroom show. With her mom as bailiff, she judges disputes that are goofy rather than ugly.\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/ojVPXD09x4U'\n title='//www.youtube.com/embed/ojVPXD09x4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>The Shape Of Pasta\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The tone has a self-seriousness that makes it seem at first like it might be parody, which is an issue for a couple of Quibi shows. But this is actually a very earnest food show about … well, lesser-known shapes of pasta, which chef Evan Funke travels to Italy to discover.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>&Music\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This series looks at fields that exist alongside music performance. The first episode, for instance, deals with how elaborate light shows are designed for live performances. If you’re the kind of person who goes for “interesting job” stories, it might be up your alley.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Prodigy\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Soccer superstar Megan Rapinoe is the host of \u003cem>Prodigy\u003c/em>, which spotlights young athletes who might be the next big thing—like Jalen Green, the No. 1 high school basketball player in the country. It’s an effort to do in-depth sports profiles one step before they usually happen, and to identify what it looks like as someone transitions from an ordinary good athlete to potentially A Big Deal.\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/UG5St5asH8o'\n title='//www.youtube.com/embed/UG5St5asH8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>The Most Dangerous Game\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t think it would be fair to share impressions of this, my one narrative mention, without disclosing that the screener had, over a show intended to be watched on a phone/tablet, three different watermarks (stuff they splatter over the screen so you can’t upload it to piracy sites), plus a running clock up in the corner. It’s almost impossible to judge how immersive this Liam Hemsworth/Christoph Waltz series might be if not for that fact, but I will give a shot to just about anything Waltz is in, including this story in which he plays a rich weirdo who pays Hemsworth to go forth and be hunted for sport.\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=Short+Attention+Span+Theater%3A+A+Quick+Look+At+Quibi%27s+Launch+Titles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing",
"headTitle": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing | KQED",
"content": "\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The affecting PBS drama is based on the true story of children who found sanctuary in northwest England.",
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"title": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tim Gunn and Heidi Klum are Together Again in 'Making the Cut'",
"headTitle": "Tim Gunn and Heidi Klum are Together Again in ‘Making the Cut’ | KQED",
"content": "\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y41irC4jq30\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\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=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Tim Gunn and Heidi Klum's new Amazon show has a very different vibe from 'Project Runway', but you'll see a lot of fashion and a lot of pretty sights. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\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/Y41irC4jq30'\n title='//www.youtube.com/embed/Y41irC4jq30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\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=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9b3SoNBM3J/\u003c/p>\n\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySQmXtwz-AI\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. [ad floatright]\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4RB41Dn9Vg\u003c/p>\n\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B9ackH-hXGr/\u003c/p>\n\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\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/ySQmXtwz-AI'\n title='//www.youtube.com/embed/ySQmXtwz-AI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\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/T4RB41Dn9Vg'\n title='//www.youtube.com/embed/T4RB41Dn9Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Historic Games, Documentaries and... Sasquatch Calling: ESPN Without Live Sports",
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"content": "\u003cp>ESPN has gone from gearing up for March Madness to featuring marble racing.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/series/812054919/the-coronavirus-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">the coronavirus\u003c/a> shuts down Broadway, bars, bowling alleys and more, consider the predicament of cable giant ESPN: The self-proclaimed “worldwide leader in sports” is now operating in a world where there are nearly no live sports.\u003c/p>\n\u003cp>“We have the rights obviously to [broadcast] the NBA, NFL rights, Major League Baseball rights. We have some digital NHL rights. We have soccer leagues from all over the world,” says ESPN’s Jeremy Schaap, host of shows \u003cem>Outside the Lines \u003c/em>and \u003cem>E:60. \u003c/em>“There’s not much that ESPN doesn’t show. … It’s a lot of stuff which, of course, now is not going to be taking place.”\u003c/p>\n\u003cp>During the great lockdown of 2020, many millions of Americans would like nothing more than the diversion of watching their favorite professional and collegiate teams. Those teams and leagues are \u003ca href=\"https://www.npr.org/2020/03/13/815531188/sports-leagues-shutter-their-seasons-and-leave-fans-wondering-what-to-do-now\" target=\"_blank\" rel=\"noopener noreferrer\">shut down too\u003c/a>. The Tokyo Summer Olympics is to be \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/03/24/820590204/japan-says-tokyo-summer-olympics-will-be-postponed\" target=\"_blank\" rel=\"noopener noreferrer\">postponed\u003c/a>, probably for a year, which has upended plans at NBC Sports.\u003c/p>\n\u003cp>For ESPN—a network defined by broadcasting, covering and endlessly analyzing sports—the disappearance of most of the grist for its programming and coverage has sent ratings sinking. And it’s sent network executives scrambling to fill the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ESPN declined to comment for this story or release ratings figures. An executive vice president, Burke Magnus, \u003ca href=\"https://www.espnfrontrow.com/2020/03/the-challenge-is-that-now-we-need-to-replicate-that-dynamic-24-hours-a-day-seven-days-a-week-across-multiple-networks/\" target=\"_blank\" rel=\"noopener noreferrer\">said on ESPN’s website\u003c/a> that the network wanted to cover the effects of COVID-19 on athletes and sport while giving viewers diversions, whether reporting on transactions or events from the archives and entertaining stunt programming.\u003c/p>\n\u003cp>“With our daily podcast, for example, we are doing some stories on the news. And by the news I mean how coronavirus is affecting sports,” says Mina Kimes, host of \u003ca href=\"https://www.espn.com/espn/story/_/id/27852002/the-espn-daily-podcast-how-listen-episode-guide-more\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast ESPN Daily\u003c/a>\u003cem>. \u003c/em>“And I try to find ways to talk about it every day. But I also think they want to hear about other things right now.\u003c/p>\n\u003cp>“Normalcy is escapist,” Kimes says. “That sounds crazy and contradictory, but I think it’s true when it comes to sports. ”\u003c/p>\n\u003cp>So ESPN has been rebroadcasting classic NFL playoffs and March Madness contests, along with highlights of spectacular boxing and soccer matchups.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=32&v=fc7yfQ0HIys&feature=emb_logo\u003c/p>\n\u003cp>The network has also taken inspiration from the satiric portrayal of it in \u003cem>Dodgeball,\u003c/em> the cult comedy hit with Ben Stiller and Vince Vaughn. \u003ca href=\"https://www.youtube.com/watch?v=fc7yfQ0HIys\" target=\"_blank\" rel=\"noopener noreferrer\">The movie portrayed “ESPN 8: The Ocho”\u003c/a> as devoted to “bringing you the finest in seldom-seen sports from around the globe, since 1999.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.espn.com/espn/story/_/id/28921255/espn-ocho-tv-schedule-guide\" target=\"_blank\" rel=\"noopener noreferrer\">Under the brand The Ocho\u003c/a>, ESPN has been presenting viewers with past contests in cherry pit spitting, marble racing, \u003ca href=\"https://www.youtube.com/watch?v=RTw79wWV9VU\" target=\"_blank\" rel=\"noopener noreferrer\">Sasquatch calling\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=RlapiParDHA\" target=\"_blank\" rel=\"noopener noreferrer\">lifting heavy stones\u003c/a> above your head. (Seriously. I’m not making those last two up.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RTw79wWV9VU\u003c/p>\n\u003cp>ESPN is working to strike deals with partners, some old, some unexpected. On Sundays, it will be airing old \u003ca href=\"https://espnpressroom.com/us/press-releases/2020/03/espn-to-air-encore-presentations-of-wrestlemania/\" target=\"_blank\" rel=\"noopener noreferrer\">WrestleMania matches\u003c/a> from WWE. And there’s movement behind the scenes to see if ESPN can create a different “league of the day,” featuring a classic game for each weeknight, involving the NFL, Major League Baseball, the NBA and big college sports. But that would involve striking a series of individual deals with separate leagues.\u003c/p>\n\u003cp>Last week, ESPN stumbled into a brief news bonanza. Patriots quarterback Tom Brady announced he’d be \u003ca href=\"https://www.npr.org/2020/03/17/817069885/tom-brady-bids-farewell-to-new-england-patriots-says-hes-ready-for-new-stage\" target=\"_blank\" rel=\"noopener noreferrer\">leaving New England\u003c/a>, which is somewhat akin to Theodore Roosevelt announcing he was leaving Mt. Rushmore. Other NFL trades and transactions temporarily filled the air too.\u003c/p>\n\u003cp>“It was a little bit surreal,” says Kimes, who is also a frequent NFL analyst for the network. “We’re continuing to talk about that on all my shows, even with the knowledge that no one really knows, you know, when the NFL or any other sport is coming back.”\u003c/p>\n\u003cp>Schaap interviewed champion thoroughbred trainer Bob Baffert, as horse racing is one of the few major sports still taking place — though with no fans in the stands. And ESPN resurrected \u003ca href=\"https://www.facebook.com/watch/?v=1140818906310274\" target=\"_blank\" rel=\"noopener noreferrer\">one of Schaap’s classic stories for E:60\u003c/a>\u003cem>, \u003c/em>about an annual event in which scores of Britons cast aside good judgment to chase a wheel of cheese speeding down the side of a steep hill in Gloucestershire.\u003c/p>\n\u003cp>“It’s a weird position for the network to be in,” Schaap says. “No one knows how many people are going to die, how many more people are going to be suffering and seriously ill. And sports intersects with society at large and especially in a situation like this. So, of course, there are stories that we should be covering and stories that we will be telling. But at a certain point, the question is going to be: How much does it matter?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let’s hope we’re in a position a few weeks from now, a couple months from now, that people can can care about sports and that it’s not entirely irrelevant.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Historic+Games%2C+Documentaries+And+...+Marble+Races%3A+ESPN+Without+Live+Sports&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ESPN has gone from gearing up for March Madness to featuring marble racing.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/series/812054919/the-coronavirus-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">the coronavirus\u003c/a> shuts down Broadway, bars, bowling alleys and more, consider the predicament of cable giant ESPN: The self-proclaimed “worldwide leader in sports” is now operating in a world where there are nearly no live sports.\u003c/p>\n\u003cp>“We have the rights obviously to [broadcast] the NBA, NFL rights, Major League Baseball rights. We have some digital NHL rights. We have soccer leagues from all over the world,” says ESPN’s Jeremy Schaap, host of shows \u003cem>Outside the Lines \u003c/em>and \u003cem>E:60. \u003c/em>“There’s not much that ESPN doesn’t show. … It’s a lot of stuff which, of course, now is not going to be taking place.”\u003c/p>\n\u003cp>During the great lockdown of 2020, many millions of Americans would like nothing more than the diversion of watching their favorite professional and collegiate teams. Those teams and leagues are \u003ca href=\"https://www.npr.org/2020/03/13/815531188/sports-leagues-shutter-their-seasons-and-leave-fans-wondering-what-to-do-now\" target=\"_blank\" rel=\"noopener noreferrer\">shut down too\u003c/a>. The Tokyo Summer Olympics is to be \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/03/24/820590204/japan-says-tokyo-summer-olympics-will-be-postponed\" target=\"_blank\" rel=\"noopener noreferrer\">postponed\u003c/a>, probably for a year, which has upended plans at NBC Sports.\u003c/p>\n\u003cp>For ESPN—a network defined by broadcasting, covering and endlessly analyzing sports—the disappearance of most of the grist for its programming and coverage has sent ratings sinking. And it’s sent network executives scrambling to fill the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ESPN declined to comment for this story or release ratings figures. An executive vice president, Burke Magnus, \u003ca href=\"https://www.espnfrontrow.com/2020/03/the-challenge-is-that-now-we-need-to-replicate-that-dynamic-24-hours-a-day-seven-days-a-week-across-multiple-networks/\" target=\"_blank\" rel=\"noopener noreferrer\">said on ESPN’s website\u003c/a> that the network wanted to cover the effects of COVID-19 on athletes and sport while giving viewers diversions, whether reporting on transactions or events from the archives and entertaining stunt programming.\u003c/p>\n\u003cp>“With our daily podcast, for example, we are doing some stories on the news. And by the news I mean how coronavirus is affecting sports,” says Mina Kimes, host of \u003ca href=\"https://www.espn.com/espn/story/_/id/27852002/the-espn-daily-podcast-how-listen-episode-guide-more\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast ESPN Daily\u003c/a>\u003cem>. \u003c/em>“And I try to find ways to talk about it every day. But I also think they want to hear about other things right now.\u003c/p>\n\u003cp>“Normalcy is escapist,” Kimes says. “That sounds crazy and contradictory, but I think it’s true when it comes to sports. ”\u003c/p>\n\u003cp>So ESPN has been rebroadcasting classic NFL playoffs and March Madness contests, along with highlights of spectacular boxing and soccer matchups.\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/fc7yfQ0HIys'\n title='//www.youtube.com/embed/fc7yfQ0HIys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The network has also taken inspiration from the satiric portrayal of it in \u003cem>Dodgeball,\u003c/em> the cult comedy hit with Ben Stiller and Vince Vaughn. \u003ca href=\"https://www.youtube.com/watch?v=fc7yfQ0HIys\" target=\"_blank\" rel=\"noopener noreferrer\">The movie portrayed “ESPN 8: The Ocho”\u003c/a> as devoted to “bringing you the finest in seldom-seen sports from around the globe, since 1999.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.espn.com/espn/story/_/id/28921255/espn-ocho-tv-schedule-guide\" target=\"_blank\" rel=\"noopener noreferrer\">Under the brand The Ocho\u003c/a>, ESPN has been presenting viewers with past contests in cherry pit spitting, marble racing, \u003ca href=\"https://www.youtube.com/watch?v=RTw79wWV9VU\" target=\"_blank\" rel=\"noopener noreferrer\">Sasquatch calling\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=RlapiParDHA\" target=\"_blank\" rel=\"noopener noreferrer\">lifting heavy stones\u003c/a> above your head. (Seriously. I’m not making those last two up.)\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/RTw79wWV9VU'\n title='//www.youtube.com/embed/RTw79wWV9VU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>ESPN is working to strike deals with partners, some old, some unexpected. On Sundays, it will be airing old \u003ca href=\"https://espnpressroom.com/us/press-releases/2020/03/espn-to-air-encore-presentations-of-wrestlemania/\" target=\"_blank\" rel=\"noopener noreferrer\">WrestleMania matches\u003c/a> from WWE. And there’s movement behind the scenes to see if ESPN can create a different “league of the day,” featuring a classic game for each weeknight, involving the NFL, Major League Baseball, the NBA and big college sports. But that would involve striking a series of individual deals with separate leagues.\u003c/p>\n\u003cp>Last week, ESPN stumbled into a brief news bonanza. Patriots quarterback Tom Brady announced he’d be \u003ca href=\"https://www.npr.org/2020/03/17/817069885/tom-brady-bids-farewell-to-new-england-patriots-says-hes-ready-for-new-stage\" target=\"_blank\" rel=\"noopener noreferrer\">leaving New England\u003c/a>, which is somewhat akin to Theodore Roosevelt announcing he was leaving Mt. Rushmore. Other NFL trades and transactions temporarily filled the air too.\u003c/p>\n\u003cp>“It was a little bit surreal,” says Kimes, who is also a frequent NFL analyst for the network. “We’re continuing to talk about that on all my shows, even with the knowledge that no one really knows, you know, when the NFL or any other sport is coming back.”\u003c/p>\n\u003cp>Schaap interviewed champion thoroughbred trainer Bob Baffert, as horse racing is one of the few major sports still taking place — though with no fans in the stands. And ESPN resurrected \u003ca href=\"https://www.facebook.com/watch/?v=1140818906310274\" target=\"_blank\" rel=\"noopener noreferrer\">one of Schaap’s classic stories for E:60\u003c/a>\u003cem>, \u003c/em>about an annual event in which scores of Britons cast aside good judgment to chase a wheel of cheese speeding down the side of a steep hill in Gloucestershire.\u003c/p>\n\u003cp>“It’s a weird position for the network to be in,” Schaap says. “No one knows how many people are going to die, how many more people are going to be suffering and seriously ill. And sports intersects with society at large and especially in a situation like this. So, of course, there are stories that we should be covering and stories that we will be telling. But at a certain point, the question is going to be: How much does it matter?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let’s hope we’re in a position a few weeks from now, a couple months from now, that people can can care about sports and that it’s not entirely irrelevant.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Historic+Games%2C+Documentaries+And+...+Marble+Races%3A+ESPN+Without+Live+Sports&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Here's How We Cope When We're Stressed: Ideas From NPR's Arts Desk",
"headTitle": "Here’s How We Cope When We’re Stressed: Ideas From NPR’s Arts Desk | KQED",
"content": "\u003cp>What helps you feel better when life is stressful and scary?\u003c/p>\n\u003cp>We asked members of the NPR Arts Desk, and their answers include a Norwegian knitting marathon,\u003cem> America’s Next Top Model, \u003c/em>British crime dramas and peanut soup.\u003c/p>\n\u003cp>Find 17 tried-and-true ideas below and stay tuned to the \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">Pop Culture Happy Hour podcast\u003c/a> for an episode about this very topic.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>America’s Next Top Model\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>I hesitate to truly recommend\u003cem> America’s Next Top Model\u003c/em>, because it is not good. But what I can promise is very low stakes. Rarely has the show resulted in a major career for anyone, so win or lose, mostly they’re there to participate in the show itself. And while I might not be able to relate to living on a desert island, I can relate to not liking a picture of yourself or being in distress over a terrible haircut. I cannot tell a lie: It’s one of my go-to comfort watches. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B018YLD706/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/302c282e-7c22-4a22-a97e-8c05f1958e86\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/finale-pt-2-americas-next-top-model-is/id1020461813?i=1064864722\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/playlist?list=ELesSZKEooraraxtcwMwIBCQ\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Linda Holmes, host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Room With A View\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helena Bonham Carter’s impressive hair extensions lead an all-star British cast that includes Dame Maggie Smith, Dame Judi Dench and—this movie is so old—Daniel Day-Lewis as an awkward third-tier love interest. This 1985 adaptation of E.M. Forster’s \u003ca href=\"https://www.npr.org/books/titles/815975027/room-with-a-view\" target=\"_blank\" rel=\"noopener noreferrer\">fabulous Edwardian novel\u003c/a> maintains its author’s decorous sensuality, particularly in a great all-male nude bathing scene that manages to be both riotously family friendly and also slyly cognizant of the author’s (repressed) queerness. “This is not what we were led to expect!” Truer words were never spoken. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B015IVLL7Q/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/movies/details?id=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">GooglePlay,\u003c/a> \u003ca href=\"https://www.hulu.com/movie/a-room-with-a-view-1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943?entity_id=1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/movie/a-room-with-a-view/id1036043140\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JFIPjRFuaHA&has_verified=1\u003c/p>\n\u003cp>\u003cem>\u003cstrong>What’s Wrong With Secretary Kim?\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>In times like these, I like to soothe myself with a soapy binge-watch. My aunts have included K-dramas in their self-care routines for years, so I recently decided to take the plunge. Now I can’t stop watching \u003cem>What’s Wrong With Secretary Kim?\u003c/em>, a South Korean series that has a calming mix of humor, romance and addictive soap opera melodrama. Loyal secretary Kim Mi-so tells her narcissistic boss Lee Young-joon that she’s quitting, which sets off a series of events that—of course—cause our leads to fall in love. Park Min-young and Park Seo-joon have electric chemistry, and what’s better than watching two unbelievably beautiful people navigate ridiculous obstacles to eventually fall in love? (Available on \u003ca href=\"https://www.hulu.com/series/62cf6cb0-3485-46ad-a0b6-75e542937f70\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a>)\u003cbr>\n\u003cem>— Jessica Reedy, producer, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Route One” by Sigur Rós\u003cbr>\n\u003c/strong>You can turn to YouTube to watch people skateboard off rooftops, or you can turn to YouTube to travel 1,332 km around Iceland’s Ring Road while Sigur Rós music plays—it’s your choice, really. The latter will take you a mere 24 hours, a feat the band (with the help of the Icelandic National Broadcasting Service) accomplished through the use of generative music software; basically, they fed stems of Sigur Rós songs to the software to generate an ever-changing new composition. Titled \u003cem>Route One\u003c/em>, it’s truly hypnotic; the visuals are gorgeous and it’s easy to drop in and out while always hearing something new. Here are parts \u003ca href=\"https://www.youtube.com/watch?v=G54tllj-SKI\" target=\"_blank\" rel=\"noopener noreferrer\">1,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=szbGc7ymFhQ\" target=\"_blank\" rel=\"noopener noreferrer\">2\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aV7YutDr5Nw\" target=\"_blank\" rel=\"noopener noreferrer\">3\u003c/a>.\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G54tllj-SKI\u003c/p>\n\u003cp>\u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“National Knitting Night”\u003c/strong>\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>If 24 hours with Sigur Rós (see above) seems a tad … long (you know, whatever), you can also spend a fraction of those 24 hours watching a bunch of good-natured Norwegians try to produce a sweater—”from sheep’s back to human’s back”—in something short of the world-record time. (That’d be 4 hours, 51 minutes and 14 seconds, \u003cem>obviously\u003c/em>.) It’s called \u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">“National Knitting Night,”\u003c/a> available through NRK TV, and it’s extraordinarily soothing company. And, when you think about it, kind of like sports!\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Get A Life, Chloe Brown\u003c/em>\u003c/strong>\u003cstrong> by Talia Hibbert\u003cbr>\n\u003c/strong>Romance is possibly the most supremely comforting genre of them all—it is a rock-ribbed rule that a romance must have a Happy Ever After, so no matter which way the roller coaster twists you, you know you’ll come safely to a halt in the end. And \u003ca href=\"https://www.npr.org/books/titles/775206804/get-a-life-chloe-brown\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get a Life\u003c/em>, \u003cem>Chloe Brown\u003c/em>\u003c/a> has plenty of twists and turns on the way to that happy ending. Chloe herself isn’t the type of heroine you often see in romance novels—she’s plus-size and dealing with serious chronic illness that Hibbert depicts with compassion and bone-aching realism. Chloe is also a computer nerd who loves to make lists, and after a near-miss car accident, she makes herself a “Get a Life” list. Will getting a life somehow involve her smokin’ hot apartment superintendent “Red” Morgan, who has long red hair, a motorcycle, and is secretly a talented painter? YOU BET. Chloe and Red have chemistry that practically burns up the page, the supporting cast (including Chloe’s sequel-bait sisters) are funny and well-rounded, and the conflicts and obstacles feel organic. This is one for the re-read pile.\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parks and Recreation\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Lately, I’ve been thinking a lot about \u003cem>Parks and Recreation \u003c/em>and Amy Poehler’s character, the indefatigable Leslie Knope. Knope is a well-meaning bureaucrat, though not always the brightest bulb—who fervently believes that the government of her small Indiana town could make things better for everybody. Unfortunately, she is surrounded by a hapless crew of oddballs who keep making that task tougher and tougher. Bingeing old \u003cem>Parks and Rec\u003c/em> episodes not only gives you a look at ace performers like Chris Pratt, Nick Offerman, Aziz Ansari, Aubrey Plaza and Retta before they became superstars, it’s also a wonderful comedy centered on a super dysfunctional work family trying to make government a little better. And who doesn’t need a message like that today? (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B01A3QX7X2/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/93dc18da-96d9-4841-b125-40f901f7e7eb\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70143842?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/parks-and-recreation-UCaUnHzySKszH_UxJEfWEn0Q?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Eric Deggans, TV critic\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ActknnwERUs\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Talking Heads\u003c/strong>\u003c/em>\u003cstrong> by Alan Bennett\u003cbr>\n\u003c/strong>Not the band (though their \u003ca href=\"https://www.youtube.com/watch?v=HldHtBxNK6k\" target=\"_blank\" rel=\"noopener noreferrer\">“Naïve Melody (This Must Be The Place)”\u003c/a> is a great song to listen to when you want to relax). No, these are a series of extended monologues by the British writer Alan Bennett, assayed by the likes of Maggie Smith, Julie Walters, Patricia Routledge, Eileen Atkins and Bennett himself. You can find them \u003ca href=\"https://www.youtube.com/playlist?list=PLxmwGyQNoPEKJ7gfk4QRMlZY0hQy4wbn5\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. Bennett is basically a worn, warm cardigan in human form, and his monologues feature unreliable narrators talking themselves into tiny epiphanies in their front rooms. They’re small and circumscribed but brilliantly specific and, often, bittersweet.\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Rhapsody in Blue” by George Gershwin\u003cbr>\n\u003c/strong>In trying times, I always listen to George Gershwin’s “Rhapsody in Blue.” Its jolly rhythms and busy, beautiful variations on themes lift my spirits, absorb me out of present problems (as all great art is able to do), and take me back to my 8-year-old days in my parents’ apartment on 103rd Street and Broadway in Manhattan: I would stand on a hassock, pencil in hand, and conduct our 78 rpm recording of Paul Whiteman And His Orchestra with Gershwin as piano soloist, performing the “\u003ca href=\"https://www.youtube.com/watch?v=Cq3J6fCUfto\" target=\"_blank\" rel=\"noopener noreferrer\">Rhapsody.\u003c/a>” The feelings of power and pleasure in those moments come right back to me when I hear it in troubled times.\u003cbr>\n—\u003cem> Susan Stamberg, special correspondent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Brave Faces Everyone” by\u003c/strong> \u003cstrong>Spanish Love Songs\u003cbr>\n\u003c/strong>You know \u003ca href=\"http://klipd.com/watch/burn-after-reading/brad-pitt-treadmill-scene\" target=\"_blank\" rel=\"noopener noreferrer\">that scene\u003c/a> in \u003cem>Burn After Reading\u003c/em> where Brad Pitt is running on the treadmill with his headphones on and he’s pumping his fists and you’re supposed to think he’s a jackass? Well, joke’s on you; doing that actually rules and feels great—especially if you’re listening to the latest Spanish Love Songs record \u003ca href=\"https://open.spotify.com/album/7GP702lI6EeRJnruJPoznv\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brave Faces Everyone\u003c/em>.\u003c/a> It’s an absolutely thrilling album about facing imminent doom (the second best chorus goes: “Don’t you know you were born to die poor, man”), the kind of doom that you can’t quite run away from because it’s everywhere, so you might as well pump your fists in the sky because it feels great—who cares if you look dumb.\u003cbr>\n\u003cem>— Andrew Limbong, reporter\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HYbAW0JlwdQ\u003c/p>\n\u003cp>\u003cstrong>British TV crime dramas\u003cbr>\n\u003c/strong>Not exactly calming, but great escapism. \u003cem>Happy Valley, Bodyguard, Broadchurch,\u003c/em> \u003cem>Grantchester, Line of Duty\u003c/em>. Gritty realism might be a stretch, but the sharp writing, flawed-but-endearing characters, plots, cheeky humor and all-around suspenseful atmosphere of these shows make it easy to slip into their worlds and stay there for hours—or at least until their final seasons. Always start at the beginning. (\u003cem>Happy Valley\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B072LGV8ZV/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=A7XQbRQ3mqM&cdid=tvseason-Gct2SdUGeF9fAI8Aug271A&gdid=tvepisode-fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1227764545?i=1229965074\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/80007225?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a>\u003cem> Bodyguard\u003c/em> available on \u003ca href=\"https://www.netflix.com/title/80235864?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix;\u003c/a> \u003cem>Broadchurch\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B074T38KHJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=hjoALWXeBsM&cdid=tvseason-rs2aF4n1qrJeHBcpa4HIqw&gdid=tvepisode-GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-8/id1209491967?i=1209497002\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes, \u003c/a>\u003ca href=\"https://www.netflix.com/title/70302484?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Grantchester\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07V96HMZG/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=bUMWuin_wjo&cdid=tvseason-Ri3diUPY8F-x6w0Gt4sX7w&gdid=tvepisode-ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-7/id1232011864?i=1248009358\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/episodes/grantchester-s1-e1/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Line of Duty\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07RRGPTVJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=367W_LaDsj4&cdid=tvseason-WPoANXuJ_XVTCvLhvkKu7Q&gdid=tvepisode-t4VB8Mmt8ls\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://www.hulu.com/series/0efc0f95-c575-46da-b28f-a30a13d86b37\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1239948393?i=1240562203\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/line-of-duty-UCaAelRWU4cE05Hojwt6pOiQ?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.)\u003cbr>\n—\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Old school real-time strategy games\u003cbr>\n\u003c/strong>You start with a town center and a villager or two. You send them off to build, or chop down trees, or farm, or mine ore, and gradually (the \u003cem>gradually\u003c/em> is what makes it relaxing!) you can start building armies and navies and upgrading your town. You watch it all happen from above, and there’s something incredibly peaceful about pulling back and seeing so many industrious little workers toiling away happily. (If you’ve spent any time in management, I don’t need to tell you how joyous the sight of people \u003cem>just doing the damn jobs you told them to do \u003c/em>can be.) Inevitably, because even pixelated humans are human, war comes—enemy troops descend on you, or you descend on your enemies. Some delight in this later stage of the game, as they relish the strategy and tactics of combat—but me, I’m happiest when a new game begins, and a tiny little dude with a tiny little wheelbarrow looks up at me expectantly, just wanting to be \u003cem>of use\u003c/em>. (You can find games like Age of the Empires, Battle for Middle Earth and Starcraft on \u003ca href=\"https://store.steampowered.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>.)\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The music from \u003c/strong>\u003cem>\u003cstrong>City of Angels, Golden Boy\u003c/strong>\u003c/em>\u003cstrong> and\u003c/strong>\u003cem>\u003cstrong> Raisin\u003cbr>\n\u003c/strong>\u003c/em>Broadway musicals nurtured me in my youth. Though I’m now an unrepentant Sondheimite, I fondly remember the scores of other composers and lyricists that kept me going between his shows—especially the jazzily obscure musicals that never seem to get revived these days. The glory of the Web is that they’re all at your fingertips. Say, Cy (\u003cem>Sweet Charity\u003c/em>) Coleman’s swinging detective musical-noir in \u003ca href=\"https://www.youtube.com/watch?v=M5QhFKE2GO8&list=PL445ADD730F46C816\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>City of Angels\u003c/em>,\u003c/a> or the sultry stylings that the creators of \u003cem>Bye Bye Birdie\u003c/em> fashioned for Sammy Davis Jr. in their boxing-ring musical \u003ca href=\"https://www.youtube.com/watch?v=OGqr3M-fajI&list=PLq01lsXqwzONpf-GYKwsgQrIqkwymyRGk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Golden Boy\u003c/em>.\u003c/a> And I’ve a special sweet spot in my heart for the musical \u003ca href=\"https://www.youtube.com/watch?v=6TPt4NzZreg&list=OLAK5uy_njf_RNyAufq1YFmp4K6qHhK3LjAGgZb0w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Raisin\u003c/em>,\u003c/a> based on Lorraine Hansberry’s \u003cem>A Raisin in the Sun\u003c/em>, that premiered at Washington’s Arena Stage and featured one of the the most delectable jazz scores I’ve ever heard.\u003cbr>\n\u003cem>— Bob Mondello, film critic\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cheers\u003cbr>\n\u003c/strong>\u003c/em>Sure, we all know \u003cem>Cheers\u003c/em>, but that’s its appeal—sometimes you want to go \u003ca href=\"https://www.youtube.com/watch?v=h-mi0r0LpXo\" target=\"_blank\" rel=\"noopener noreferrer\">“Where everybody knows your name…”\u003c/a> I return to it time and again for its recognizable sitcom tropes and familiar comedic rhythms—you’d be hard-pressed to find a show as packed with still-hilarious set-pieces and pingponging patter. Whether you tuned in each week from 1982 to 1993, or during reruns, or, now in a many-seasons-long binge, you’ll come to care deeply about these Boston bar knuckleheads as your own surrogate family and friends. I can’t think of anything more comforting than that. (Plus, once you hit the end of its 11 seasons, just keep going—with another 11 seasons of its spinoff, \u003ca href=\"https://www.imdb.com/title/tt0106004/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Frasier\u003c/em>\u003c/a>!) (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B00CV36NKU/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.cbs.com/shows/cheers/video/DXMbCNIG050KaYm2Tl82QQAyP6WO8E65/cheers-one-for-the-road-part-3/?searchReferral=google\" target=\"_blank\" rel=\"noopener noreferrer\">CBS,\u003c/a> \u003ca href=\"https://www.hulu.com/series/6db3756a-27a8-4c55-a285-c695e28fd977\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/one-for-the-road-pt-3/id476989385?i=477043997\" target=\"_blank\" rel=\"noopener noreferrer\"> iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70152640?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=x8H4Xkb9qhU\" target=\"_blank\" rel=\"noopener noreferrer\"> YouTube\u003c/a>)\u003cbr>\n—\u003cem> Mike Katzif, producer, \u003c/em>Pop Culture Happy Hour\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ncc77oxnx5A\u003c/p>\n\u003cp>\u003cstrong>West African Peanut Soup\u003cbr>\n\u003c/strong>I was in college when Mark Bittman posted \u003ca href=\"https://cooking.nytimes.com/recipes/1012581-west-african-peanut-soup-with-chicken\" target=\"_blank\" rel=\"noopener noreferrer\">this recipe\u003c/a> for West African chicken stew. I cooked pretty much everything he wrote back then, and while most recipes have faded in my memory this one stuck because it is\u003cem> magic.\u003c/em> I cannot explain why this combination of things you likely already have in your kitchen (peanut butter, garlic, a can of tomatoes, a chicken thigh in the back of your freezer, maybe?) and a few fresh veggies (kale, sweet potatoes) has become one of my all time favorite comfort meals, but it has. I make this soup when people are sick, or are having babies. I make it when the news is scary. I make it when the kale looks nice at the farmer’s market. I make it when I just have nothing else to do. It’s gluten- and dairy-free, so it works for a variety of diets and restrictions. (I’m sure you could make it vegetarian—just leave out the chicken. Maybe add some chickpeas.) It feels healthy and it comes together fast. When I made it yesterday, I didn’t have peanuts, and I used Japanese white sweet potatoes and added fish sauce. Go crazy!\u003cbr>\n—\u003cem> Rose Friedman, editor\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graveyard Keeper\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Really, any farming-type simulator game will do here—\u003cem>Stardew Valley, \u003c/em>granddaddy of them all \u003cem>Harvest Moon,\u003c/em> even \u003cem>Minecraft,\u003c/em> if the occasional zombie or spider doesn’t stress you out too much, and you like mining as much as farming—as long as it’s got soothingly repetitive action and lulling music. Plant endless crops? Yes! Dig lots of holes? Yes! Befriend local villagers? A thousand times yes! But what if you want that sweet, sweet farming sim action, and the times are just too grim to truly enjoy bringing endless sacks of flour to the Harvest Sprites? My friends, you need \u003cem>Graveyard Keeper.\u003c/em> You play as the maintenance man for a Medievalish graveyard, clearing stumps and weeds, improving your land, prettifying the graves, building relationships with the locals—all the activities common to farming sims. But also, you might be turning the regularly delivered bodies into mystery meat to sell at the tavern, and staging witch-burnings to get in good with the local inquisitor (while making a profit off mystery meat burgers you sell to the crowds). Fair warning—there are long periods in \u003cem>Graveyard Keeper\u003c/em> where you’re just grinding to get to the next level. But sometimes, that’s what you need to make the real world go away. And the music is \u003cem>really\u003c/em> soothing. (Available on \u003ca href=\"https://store.steampowered.com/app/599140/Graveyard_Keeper/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>, \u003ca href=\"https://www.microsoft.com/en-us/p/graveyard-keeper/c11gzgmkrtcv?activetab=pivot:overviewtab\" target=\"_blank\" rel=\"noopener noreferrer\">Xbox\u003c/a> and \u003ca href=\"https://www.nintendo.com/games/detail/graveyard-keeper-switch/\" target=\"_blank\" rel=\"noopener noreferrer\">Switch\u003c/a>)\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Art of Solitude \u003c/strong>\u003c/em>\u003cstrong>by Stephen Batchelor\u003cbr>\n\u003c/strong>I can’t think of a better time to read about how artists and writers have approached the idea of solitude—a concept that can range from loneliness to ecstasy. In \u003ca href=\"https://www.npr.org/books/titles/816253306/the-art-of-solitude-a-meditation-on-being-alone-with-others-in-this-world\" target=\"_blank\" rel=\"noopener noreferrer\">this short book (or audiobook),\u003c/a> Batchelor, a longtime Buddhist teacher, mixes in his own stories of being alone and at ease.\u003cbr>\n—\u003cem> Ted Robbins, editor\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=Here%27s+How+We+Cope+When+We%27re+Stressed%3A+Ideas+From+NPR%27s+Arts+Desk&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What helps you feel better when life is stressful and scary?\u003c/p>\n\u003cp>We asked members of the NPR Arts Desk, and their answers include a Norwegian knitting marathon,\u003cem> America’s Next Top Model, \u003c/em>British crime dramas and peanut soup.\u003c/p>\n\u003cp>Find 17 tried-and-true ideas below and stay tuned to the \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">Pop Culture Happy Hour podcast\u003c/a> for an episode about this very topic.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>America’s Next Top Model\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>I hesitate to truly recommend\u003cem> America’s Next Top Model\u003c/em>, because it is not good. But what I can promise is very low stakes. Rarely has the show resulted in a major career for anyone, so win or lose, mostly they’re there to participate in the show itself. And while I might not be able to relate to living on a desert island, I can relate to not liking a picture of yourself or being in distress over a terrible haircut. I cannot tell a lie: It’s one of my go-to comfort watches. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B018YLD706/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/302c282e-7c22-4a22-a97e-8c05f1958e86\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/finale-pt-2-americas-next-top-model-is/id1020461813?i=1064864722\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/playlist?list=ELesSZKEooraraxtcwMwIBCQ\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Linda Holmes, host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Room With A View\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helena Bonham Carter’s impressive hair extensions lead an all-star British cast that includes Dame Maggie Smith, Dame Judi Dench and—this movie is so old—Daniel Day-Lewis as an awkward third-tier love interest. This 1985 adaptation of E.M. Forster’s \u003ca href=\"https://www.npr.org/books/titles/815975027/room-with-a-view\" target=\"_blank\" rel=\"noopener noreferrer\">fabulous Edwardian novel\u003c/a> maintains its author’s decorous sensuality, particularly in a great all-male nude bathing scene that manages to be both riotously family friendly and also slyly cognizant of the author’s (repressed) queerness. “This is not what we were led to expect!” Truer words were never spoken. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B015IVLL7Q/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/movies/details?id=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">GooglePlay,\u003c/a> \u003ca href=\"https://www.hulu.com/movie/a-room-with-a-view-1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943?entity_id=1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/movie/a-room-with-a-view/id1036043140\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JFIPjRFuaHA'\n title='//www.youtube.com/embed/JFIPjRFuaHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>What’s Wrong With Secretary Kim?\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>In times like these, I like to soothe myself with a soapy binge-watch. My aunts have included K-dramas in their self-care routines for years, so I recently decided to take the plunge. Now I can’t stop watching \u003cem>What’s Wrong With Secretary Kim?\u003c/em>, a South Korean series that has a calming mix of humor, romance and addictive soap opera melodrama. Loyal secretary Kim Mi-so tells her narcissistic boss Lee Young-joon that she’s quitting, which sets off a series of events that—of course—cause our leads to fall in love. Park Min-young and Park Seo-joon have electric chemistry, and what’s better than watching two unbelievably beautiful people navigate ridiculous obstacles to eventually fall in love? (Available on \u003ca href=\"https://www.hulu.com/series/62cf6cb0-3485-46ad-a0b6-75e542937f70\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a>)\u003cbr>\n\u003cem>— Jessica Reedy, producer, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Route One” by Sigur Rós\u003cbr>\n\u003c/strong>You can turn to YouTube to watch people skateboard off rooftops, or you can turn to YouTube to travel 1,332 km around Iceland’s Ring Road while Sigur Rós music plays—it’s your choice, really. The latter will take you a mere 24 hours, a feat the band (with the help of the Icelandic National Broadcasting Service) accomplished through the use of generative music software; basically, they fed stems of Sigur Rós songs to the software to generate an ever-changing new composition. Titled \u003cem>Route One\u003c/em>, it’s truly hypnotic; the visuals are gorgeous and it’s easy to drop in and out while always hearing something new. Here are parts \u003ca href=\"https://www.youtube.com/watch?v=G54tllj-SKI\" target=\"_blank\" rel=\"noopener noreferrer\">1,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=szbGc7ymFhQ\" target=\"_blank\" rel=\"noopener noreferrer\">2\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aV7YutDr5Nw\" target=\"_blank\" rel=\"noopener noreferrer\">3\u003c/a>.\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G54tllj-SKI'\n title='//www.youtube.com/embed/G54tllj-SKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“National Knitting Night”\u003c/strong>\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>If 24 hours with Sigur Rós (see above) seems a tad … long (you know, whatever), you can also spend a fraction of those 24 hours watching a bunch of good-natured Norwegians try to produce a sweater—”from sheep’s back to human’s back”—in something short of the world-record time. (That’d be 4 hours, 51 minutes and 14 seconds, \u003cem>obviously\u003c/em>.) It’s called \u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">“National Knitting Night,”\u003c/a> available through NRK TV, and it’s extraordinarily soothing company. And, when you think about it, kind of like sports!\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Get A Life, Chloe Brown\u003c/em>\u003c/strong>\u003cstrong> by Talia Hibbert\u003cbr>\n\u003c/strong>Romance is possibly the most supremely comforting genre of them all—it is a rock-ribbed rule that a romance must have a Happy Ever After, so no matter which way the roller coaster twists you, you know you’ll come safely to a halt in the end. And \u003ca href=\"https://www.npr.org/books/titles/775206804/get-a-life-chloe-brown\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get a Life\u003c/em>, \u003cem>Chloe Brown\u003c/em>\u003c/a> has plenty of twists and turns on the way to that happy ending. Chloe herself isn’t the type of heroine you often see in romance novels—she’s plus-size and dealing with serious chronic illness that Hibbert depicts with compassion and bone-aching realism. Chloe is also a computer nerd who loves to make lists, and after a near-miss car accident, she makes herself a “Get a Life” list. Will getting a life somehow involve her smokin’ hot apartment superintendent “Red” Morgan, who has long red hair, a motorcycle, and is secretly a talented painter? YOU BET. Chloe and Red have chemistry that practically burns up the page, the supporting cast (including Chloe’s sequel-bait sisters) are funny and well-rounded, and the conflicts and obstacles feel organic. This is one for the re-read pile.\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parks and Recreation\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Lately, I’ve been thinking a lot about \u003cem>Parks and Recreation \u003c/em>and Amy Poehler’s character, the indefatigable Leslie Knope. Knope is a well-meaning bureaucrat, though not always the brightest bulb—who fervently believes that the government of her small Indiana town could make things better for everybody. Unfortunately, she is surrounded by a hapless crew of oddballs who keep making that task tougher and tougher. Bingeing old \u003cem>Parks and Rec\u003c/em> episodes not only gives you a look at ace performers like Chris Pratt, Nick Offerman, Aziz Ansari, Aubrey Plaza and Retta before they became superstars, it’s also a wonderful comedy centered on a super dysfunctional work family trying to make government a little better. And who doesn’t need a message like that today? (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B01A3QX7X2/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/93dc18da-96d9-4841-b125-40f901f7e7eb\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70143842?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/parks-and-recreation-UCaUnHzySKszH_UxJEfWEn0Q?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Eric Deggans, TV critic\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ActknnwERUs'\n title='//www.youtube.com/embed/ActknnwERUs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Talking Heads\u003c/strong>\u003c/em>\u003cstrong> by Alan Bennett\u003cbr>\n\u003c/strong>Not the band (though their \u003ca href=\"https://www.youtube.com/watch?v=HldHtBxNK6k\" target=\"_blank\" rel=\"noopener noreferrer\">“Naïve Melody (This Must Be The Place)”\u003c/a> is a great song to listen to when you want to relax). No, these are a series of extended monologues by the British writer Alan Bennett, assayed by the likes of Maggie Smith, Julie Walters, Patricia Routledge, Eileen Atkins and Bennett himself. You can find them \u003ca href=\"https://www.youtube.com/playlist?list=PLxmwGyQNoPEKJ7gfk4QRMlZY0hQy4wbn5\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. Bennett is basically a worn, warm cardigan in human form, and his monologues feature unreliable narrators talking themselves into tiny epiphanies in their front rooms. They’re small and circumscribed but brilliantly specific and, often, bittersweet.\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Rhapsody in Blue” by George Gershwin\u003cbr>\n\u003c/strong>In trying times, I always listen to George Gershwin’s “Rhapsody in Blue.” Its jolly rhythms and busy, beautiful variations on themes lift my spirits, absorb me out of present problems (as all great art is able to do), and take me back to my 8-year-old days in my parents’ apartment on 103rd Street and Broadway in Manhattan: I would stand on a hassock, pencil in hand, and conduct our 78 rpm recording of Paul Whiteman And His Orchestra with Gershwin as piano soloist, performing the “\u003ca href=\"https://www.youtube.com/watch?v=Cq3J6fCUfto\" target=\"_blank\" rel=\"noopener noreferrer\">Rhapsody.\u003c/a>” The feelings of power and pleasure in those moments come right back to me when I hear it in troubled times.\u003cbr>\n—\u003cem> Susan Stamberg, special correspondent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Brave Faces Everyone” by\u003c/strong> \u003cstrong>Spanish Love Songs\u003cbr>\n\u003c/strong>You know \u003ca href=\"http://klipd.com/watch/burn-after-reading/brad-pitt-treadmill-scene\" target=\"_blank\" rel=\"noopener noreferrer\">that scene\u003c/a> in \u003cem>Burn After Reading\u003c/em> where Brad Pitt is running on the treadmill with his headphones on and he’s pumping his fists and you’re supposed to think he’s a jackass? Well, joke’s on you; doing that actually rules and feels great—especially if you’re listening to the latest Spanish Love Songs record \u003ca href=\"https://open.spotify.com/album/7GP702lI6EeRJnruJPoznv\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brave Faces Everyone\u003c/em>.\u003c/a> It’s an absolutely thrilling album about facing imminent doom (the second best chorus goes: “Don’t you know you were born to die poor, man”), the kind of doom that you can’t quite run away from because it’s everywhere, so you might as well pump your fists in the sky because it feels great—who cares if you look dumb.\u003cbr>\n\u003cem>— Andrew Limbong, reporter\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HYbAW0JlwdQ'\n title='//www.youtube.com/embed/HYbAW0JlwdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>British TV crime dramas\u003cbr>\n\u003c/strong>Not exactly calming, but great escapism. \u003cem>Happy Valley, Bodyguard, Broadchurch,\u003c/em> \u003cem>Grantchester, Line of Duty\u003c/em>. Gritty realism might be a stretch, but the sharp writing, flawed-but-endearing characters, plots, cheeky humor and all-around suspenseful atmosphere of these shows make it easy to slip into their worlds and stay there for hours—or at least until their final seasons. Always start at the beginning. (\u003cem>Happy Valley\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B072LGV8ZV/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=A7XQbRQ3mqM&cdid=tvseason-Gct2SdUGeF9fAI8Aug271A&gdid=tvepisode-fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1227764545?i=1229965074\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/80007225?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a>\u003cem> Bodyguard\u003c/em> available on \u003ca href=\"https://www.netflix.com/title/80235864?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix;\u003c/a> \u003cem>Broadchurch\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B074T38KHJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=hjoALWXeBsM&cdid=tvseason-rs2aF4n1qrJeHBcpa4HIqw&gdid=tvepisode-GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-8/id1209491967?i=1209497002\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes, \u003c/a>\u003ca href=\"https://www.netflix.com/title/70302484?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Grantchester\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07V96HMZG/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=bUMWuin_wjo&cdid=tvseason-Ri3diUPY8F-x6w0Gt4sX7w&gdid=tvepisode-ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-7/id1232011864?i=1248009358\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/episodes/grantchester-s1-e1/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Line of Duty\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07RRGPTVJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=367W_LaDsj4&cdid=tvseason-WPoANXuJ_XVTCvLhvkKu7Q&gdid=tvepisode-t4VB8Mmt8ls\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://www.hulu.com/series/0efc0f95-c575-46da-b28f-a30a13d86b37\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1239948393?i=1240562203\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/line-of-duty-UCaAelRWU4cE05Hojwt6pOiQ?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.)\u003cbr>\n—\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Old school real-time strategy games\u003cbr>\n\u003c/strong>You start with a town center and a villager or two. You send them off to build, or chop down trees, or farm, or mine ore, and gradually (the \u003cem>gradually\u003c/em> is what makes it relaxing!) you can start building armies and navies and upgrading your town. You watch it all happen from above, and there’s something incredibly peaceful about pulling back and seeing so many industrious little workers toiling away happily. (If you’ve spent any time in management, I don’t need to tell you how joyous the sight of people \u003cem>just doing the damn jobs you told them to do \u003c/em>can be.) Inevitably, because even pixelated humans are human, war comes—enemy troops descend on you, or you descend on your enemies. Some delight in this later stage of the game, as they relish the strategy and tactics of combat—but me, I’m happiest when a new game begins, and a tiny little dude with a tiny little wheelbarrow looks up at me expectantly, just wanting to be \u003cem>of use\u003c/em>. (You can find games like Age of the Empires, Battle for Middle Earth and Starcraft on \u003ca href=\"https://store.steampowered.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>.)\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The music from \u003c/strong>\u003cem>\u003cstrong>City of Angels, Golden Boy\u003c/strong>\u003c/em>\u003cstrong> and\u003c/strong>\u003cem>\u003cstrong> Raisin\u003cbr>\n\u003c/strong>\u003c/em>Broadway musicals nurtured me in my youth. Though I’m now an unrepentant Sondheimite, I fondly remember the scores of other composers and lyricists that kept me going between his shows—especially the jazzily obscure musicals that never seem to get revived these days. The glory of the Web is that they’re all at your fingertips. Say, Cy (\u003cem>Sweet Charity\u003c/em>) Coleman’s swinging detective musical-noir in \u003ca href=\"https://www.youtube.com/watch?v=M5QhFKE2GO8&list=PL445ADD730F46C816\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>City of Angels\u003c/em>,\u003c/a> or the sultry stylings that the creators of \u003cem>Bye Bye Birdie\u003c/em> fashioned for Sammy Davis Jr. in their boxing-ring musical \u003ca href=\"https://www.youtube.com/watch?v=OGqr3M-fajI&list=PLq01lsXqwzONpf-GYKwsgQrIqkwymyRGk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Golden Boy\u003c/em>.\u003c/a> And I’ve a special sweet spot in my heart for the musical \u003ca href=\"https://www.youtube.com/watch?v=6TPt4NzZreg&list=OLAK5uy_njf_RNyAufq1YFmp4K6qHhK3LjAGgZb0w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Raisin\u003c/em>,\u003c/a> based on Lorraine Hansberry’s \u003cem>A Raisin in the Sun\u003c/em>, that premiered at Washington’s Arena Stage and featured one of the the most delectable jazz scores I’ve ever heard.\u003cbr>\n\u003cem>— Bob Mondello, film critic\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cheers\u003cbr>\n\u003c/strong>\u003c/em>Sure, we all know \u003cem>Cheers\u003c/em>, but that’s its appeal—sometimes you want to go \u003ca href=\"https://www.youtube.com/watch?v=h-mi0r0LpXo\" target=\"_blank\" rel=\"noopener noreferrer\">“Where everybody knows your name…”\u003c/a> I return to it time and again for its recognizable sitcom tropes and familiar comedic rhythms—you’d be hard-pressed to find a show as packed with still-hilarious set-pieces and pingponging patter. Whether you tuned in each week from 1982 to 1993, or during reruns, or, now in a many-seasons-long binge, you’ll come to care deeply about these Boston bar knuckleheads as your own surrogate family and friends. I can’t think of anything more comforting than that. (Plus, once you hit the end of its 11 seasons, just keep going—with another 11 seasons of its spinoff, \u003ca href=\"https://www.imdb.com/title/tt0106004/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Frasier\u003c/em>\u003c/a>!) (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B00CV36NKU/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.cbs.com/shows/cheers/video/DXMbCNIG050KaYm2Tl82QQAyP6WO8E65/cheers-one-for-the-road-part-3/?searchReferral=google\" target=\"_blank\" rel=\"noopener noreferrer\">CBS,\u003c/a> \u003ca href=\"https://www.hulu.com/series/6db3756a-27a8-4c55-a285-c695e28fd977\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/one-for-the-road-pt-3/id476989385?i=477043997\" target=\"_blank\" rel=\"noopener noreferrer\"> iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70152640?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=x8H4Xkb9qhU\" target=\"_blank\" rel=\"noopener noreferrer\"> YouTube\u003c/a>)\u003cbr>\n—\u003cem> Mike Katzif, producer, \u003c/em>Pop Culture Happy Hour\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/ncc77oxnx5A'\n title='//www.youtube.com/embed/ncc77oxnx5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>West African Peanut Soup\u003cbr>\n\u003c/strong>I was in college when Mark Bittman posted \u003ca href=\"https://cooking.nytimes.com/recipes/1012581-west-african-peanut-soup-with-chicken\" target=\"_blank\" rel=\"noopener noreferrer\">this recipe\u003c/a> for West African chicken stew. I cooked pretty much everything he wrote back then, and while most recipes have faded in my memory this one stuck because it is\u003cem> magic.\u003c/em> I cannot explain why this combination of things you likely already have in your kitchen (peanut butter, garlic, a can of tomatoes, a chicken thigh in the back of your freezer, maybe?) and a few fresh veggies (kale, sweet potatoes) has become one of my all time favorite comfort meals, but it has. I make this soup when people are sick, or are having babies. I make it when the news is scary. I make it when the kale looks nice at the farmer’s market. I make it when I just have nothing else to do. It’s gluten- and dairy-free, so it works for a variety of diets and restrictions. (I’m sure you could make it vegetarian—just leave out the chicken. Maybe add some chickpeas.) It feels healthy and it comes together fast. When I made it yesterday, I didn’t have peanuts, and I used Japanese white sweet potatoes and added fish sauce. Go crazy!\u003cbr>\n—\u003cem> Rose Friedman, editor\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graveyard Keeper\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Really, any farming-type simulator game will do here—\u003cem>Stardew Valley, \u003c/em>granddaddy of them all \u003cem>Harvest Moon,\u003c/em> even \u003cem>Minecraft,\u003c/em> if the occasional zombie or spider doesn’t stress you out too much, and you like mining as much as farming—as long as it’s got soothingly repetitive action and lulling music. Plant endless crops? Yes! Dig lots of holes? Yes! Befriend local villagers? A thousand times yes! But what if you want that sweet, sweet farming sim action, and the times are just too grim to truly enjoy bringing endless sacks of flour to the Harvest Sprites? My friends, you need \u003cem>Graveyard Keeper.\u003c/em> You play as the maintenance man for a Medievalish graveyard, clearing stumps and weeds, improving your land, prettifying the graves, building relationships with the locals—all the activities common to farming sims. But also, you might be turning the regularly delivered bodies into mystery meat to sell at the tavern, and staging witch-burnings to get in good with the local inquisitor (while making a profit off mystery meat burgers you sell to the crowds). Fair warning—there are long periods in \u003cem>Graveyard Keeper\u003c/em> where you’re just grinding to get to the next level. But sometimes, that’s what you need to make the real world go away. And the music is \u003cem>really\u003c/em> soothing. (Available on \u003ca href=\"https://store.steampowered.com/app/599140/Graveyard_Keeper/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>, \u003ca href=\"https://www.microsoft.com/en-us/p/graveyard-keeper/c11gzgmkrtcv?activetab=pivot:overviewtab\" target=\"_blank\" rel=\"noopener noreferrer\">Xbox\u003c/a> and \u003ca href=\"https://www.nintendo.com/games/detail/graveyard-keeper-switch/\" target=\"_blank\" rel=\"noopener noreferrer\">Switch\u003c/a>)\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Art of Solitude \u003c/strong>\u003c/em>\u003cstrong>by Stephen Batchelor\u003cbr>\n\u003c/strong>I can’t think of a better time to read about how artists and writers have approached the idea of solitude—a concept that can range from loneliness to ecstasy. In \u003ca href=\"https://www.npr.org/books/titles/816253306/the-art-of-solitude-a-meditation-on-being-alone-with-others-in-this-world\" target=\"_blank\" rel=\"noopener noreferrer\">this short book (or audiobook),\u003c/a> Batchelor, a longtime Buddhist teacher, mixes in his own stories of being alone and at ease.\u003cbr>\n—\u003cem> Ted Robbins, editor\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=Here%27s+How+We+Cope+When+We%27re+Stressed%3A+Ideas+From+NPR%27s+Arts+Desk&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch John Oliver Sum Up Everything You Need to Know About Coronavirus",
"headTitle": "Watch John Oliver Sum Up Everything You Need to Know About Coronavirus | KQED",
"content": "\u003cp>In the six years it’s been on air, \u003cem>Last Week Tonight With John Oliver\u003c/em> has proven itself particularly adept at summing up complex issues in a way that’s consistently informative and—by some miracle—funny. Sunday’s coronavirus episode was the pinnacle of that, despite being presented on a jarringly stripped down set.\u003c/p>\n\u003cp>“This is weird, isn’t it?” Oliver began. “This is definitely weird. As you can clearly tell, this is not going to be our usual show this week. For a start, there is no audience, and also we’re not even in our usual studio. Partly because we do like to shake things up whenever we can, and also partly because our actual studio might be full of coronavirus.”\u003c/p>\n\u003cp>Oliver explained that confirmed cases of the illness were found in the CBS Broadcast Center and the \u003cem>Last Week Tonight\u003c/em> office building. He then launched into a 20-minute summary of everything Americans need to know about coronavirus right now.\u003c/p>\n\u003cp>The episode contained good advice on how to stay safe, a summary of “harmful bullshit” spread by misinformed people (including the president), pointers about how to help out in your community, and important warnings from \u003ca href=\"https://www.c-span.org/person/?anthonyfauci\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Anthony Fauci\u003c/a> that you may not have heard unless you watch C-Span. There were even 30 seconds set aside to feel “selfish anger” about whatever events you’re missing in the coming weeks.\u003c/p>\n\u003cp>Between the white background, lack of audience laughter and Oliver’s more serious moments, the episode occasionally veered into feeling borderline apocalyptic. “I know things are currently very scary,” he concluded. “And things are going to be weird for a while. For weeks and, honestly, more likely months… We’re going to need to look out for one another. … This is going to be an unsettling and potentially lonely time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But yes, \u003cem>Last Week Tonight\u003c/em>‘s humor was still peppered throughout, thanks to a TikTok hamster, hashtag feminism and making light of the studio set up. “We’re currently taping this with a very limited crew on this white void set,” Oliver said at one point. “It kind of looks like the place movie characters go when they’ve just died—or where they shot the Cars For Kids commercial. Very much, by the way, the coronavirus of commercials, in that it is horrifically infectious and ruins people’s lives.”\u003c/p>\n\u003cp>In closing, Oliver said: “We will be back in some form, some time in the future. Until then, stay safe. Goodnight.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_066dEkycr4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the six years it’s been on air, \u003cem>Last Week Tonight With John Oliver\u003c/em> has proven itself particularly adept at summing up complex issues in a way that’s consistently informative and—by some miracle—funny. Sunday’s coronavirus episode was the pinnacle of that, despite being presented on a jarringly stripped down set.\u003c/p>\n\u003cp>“This is weird, isn’t it?” Oliver began. “This is definitely weird. As you can clearly tell, this is not going to be our usual show this week. For a start, there is no audience, and also we’re not even in our usual studio. Partly because we do like to shake things up whenever we can, and also partly because our actual studio might be full of coronavirus.”\u003c/p>\n\u003cp>Oliver explained that confirmed cases of the illness were found in the CBS Broadcast Center and the \u003cem>Last Week Tonight\u003c/em> office building. He then launched into a 20-minute summary of everything Americans need to know about coronavirus right now.\u003c/p>\n\u003cp>The episode contained good advice on how to stay safe, a summary of “harmful bullshit” spread by misinformed people (including the president), pointers about how to help out in your community, and important warnings from \u003ca href=\"https://www.c-span.org/person/?anthonyfauci\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Anthony Fauci\u003c/a> that you may not have heard unless you watch C-Span. There were even 30 seconds set aside to feel “selfish anger” about whatever events you’re missing in the coming weeks.\u003c/p>\n\u003cp>Between the white background, lack of audience laughter and Oliver’s more serious moments, the episode occasionally veered into feeling borderline apocalyptic. “I know things are currently very scary,” he concluded. “And things are going to be weird for a while. For weeks and, honestly, more likely months… We’re going to need to look out for one another. … This is going to be an unsettling and potentially lonely time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But yes, \u003cem>Last Week Tonight\u003c/em>‘s humor was still peppered throughout, thanks to a TikTok hamster, hashtag feminism and making light of the studio set up. “We’re currently taping this with a very limited crew on this white void set,” Oliver said at one point. “It kind of looks like the place movie characters go when they’ve just died—or where they shot the Cars For Kids commercial. Very much, by the way, the coronavirus of commercials, in that it is horrifically infectious and ruins people’s lives.”\u003c/p>\n\u003cp>In closing, Oliver said: “We will be back in some form, some time in the future. Until then, stay safe. Goodnight.”\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/_066dEkycr4'\n title='//www.youtube.com/embed/_066dEkycr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beautiful But Oh So Cold: 'Devs' Delivers Arty Take on Silicon Valley Dystopia",
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"content": "\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Fp9LMsI6uJ8]It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>\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/Fp9LMsI6uJ8'\n title='//www.youtube.com/embed/Fp9LMsI6uJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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