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"content": "\u003cp>It’s telling that the most barbed political criticism Michelle Obama drops in her new Netflix documentary \u003cem>Becoming\u003c/em> isn’t about Donald Trump’s birtherism or the commentators who tried to dismiss her as an angry black woman.\u003c/p>\n\u003cp>Instead, she criticizes fickle Democratic supporters while talking about Trump’s 2017 inauguration in a roundtable discussion.\u003c/p>\n\u003cp>“The day I left the White House, I write about how painful it was to sit on that stage—a lot of our folks didn’t vote,” she says in the film, which debuts Wednesday. “So it was almost like, a slap in the face.”\u003c/p>\n\u003cp>Moments later, she expands on that idea, “I understand the people who voted for Trump, [but] the people who didn’t vote at all—the young people, the women—that’s when you think, man, people think this is a game.”\u003c/p>\n\u003cp>The backbone of the documentary comes from footage filmed behind-the-scenes and onstage during the 34-stop tour to promote \u003ca href=\"https://www.npr.org/books/titles/663568665/becoming\" target=\"_blank\" rel=\"noopener noreferrer\">her best-selling memoir,\u003c/a> also called \u003cem>Becoming\u003c/em>. The tour featured celebrity hosts like Oprah Winfrey interviewing the former First Lady in arenas packed with fans; she spoke on everything from visiting a marriage counselor with her husband to raising young black children in a mansion like the White House.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her concern: during a visit with Laura Bush, she noticed the White House butlers were African American and Latino men decked out in tuxedoes.\u003c/p>\n\u003cp>“I didn’t want them growing up thinking grown African American men served them in tuxedoes,” she says. “The truth was that some of those men were (like) my uncles—they were the Pullman porters and other folks—I didn’t want my girls to grow up with that image.”\u003c/p>\n\u003cp>Race is, of course, a huge subject in the film, as Michelle Obama details feeling immense pressure to be perfect as wife to the first black president. For fans who admire the family and their message of inclusion, \u003cem>Becoming\u003c/em> will be a bittersweet reminder of how differently the White House’s current occupants conduct themselves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wePNJGL7nDU\u003c/p>\n\u003cp>Still, when young people ask Michelle Obama how to face the often-intangible forces of systemic prejudice and tribalism, Michelle Obama has a consistent answer: Stay focused. Work hard. Never accept a limiting label.\u003c/p>\n\u003cp>“I never felt invisible,” she says, praising her parents for teaching her confidence. “We can’t afford to wait for the world to be equal to start feeling seen.”\u003c/p>\n\u003cp>When a Native American student tells her he felt uneasy in classes with students wearing Trump hats, she responds: “So you’re in school. Be in school. Get your frickin’ education. 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But \u003cem>Becoming\u003c/em> is produced by the Obamas’ Higher Ground Productions, following in the footsteps of other recent documentaries—like ESPN’s \u003ca href=\"https://www.espn.com/nba/story/_/id/29127505/espn-michael-jordan-documentary-big-takeaways-episodes-5-6-last-dance\">\u003cem>The Last Dance\u003c/em> \u003c/a>or Hulu’s \u003ca href=\"https://www.hulu.com/series/hillary-793891ec-5bb7-4200-ba93-e3629532d670?&cmp=12386&utm_source=google&utm_medium=SEM&utm_campaign=CM_SEM_Hillary%20Documentary&utm_term=+hulu%20+hillary&ds_rl=1251123&gclid=CjwKCAjwwMn1BRAUEiwAZ_jnEvFpq7FeplEMMgox0Gvbd1vT4aUX-dPNDqKNC6yNqYOWhJOdI8cDxhoCnhkQAvD_BwE&gclsrc=aw.ds\">\u003cem>Hillary\u003c/em>\u003c/a>—which counted on significant participation and support from key subjects to succeed.\u003c/p>\n\u003cp>As good as all of these efforts are, there is also a sense that they can only go so far in challenging their superstar subjects. In \u003cem>Becoming\u003c/em>‘s case, that means a distinct lack of critics shown onscreen and moments that feel too much like an ad for the boss.\u003c/p>\n\u003cp>Despite Michelle Obama’s candor, \u003cem>Becoming \u003c/em>offers a selective view. Barack Obama doesn’t sit for an exclusive interview; daughters Sasha and Malia speak in just a few places. And the former First Lady avoids any direct criticism of political rivals, continuing to go high when others might consider going low.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even with its flaws, \u003cem>Becoming\u003c/em> is a compelling documentary, offering a carefully revealing look at a whip smart, ferociously practical woman trying to understand how her historic time in the White House changed herself, her family and the nation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her concern: during a visit with Laura Bush, she noticed the White House butlers were African American and Latino men decked out in tuxedoes.\u003c/p>\n\u003cp>“I didn’t want them growing up thinking grown African American men served them in tuxedoes,” she says. “The truth was that some of those men were (like) my uncles—they were the Pullman porters and other folks—I didn’t want my girls to grow up with that image.”\u003c/p>\n\u003cp>Race is, of course, a huge subject in the film, as Michelle Obama details feeling immense pressure to be perfect as wife to the first black president. For fans who admire the family and their message of inclusion, \u003cem>Becoming\u003c/em> will be a bittersweet reminder of how differently the White House’s current occupants conduct themselves.\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/wePNJGL7nDU'\n title='//www.youtube.com/embed/wePNJGL7nDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, when young people ask Michelle Obama how to face the often-intangible forces of systemic prejudice and tribalism, Michelle Obama has a consistent answer: Stay focused. Work hard. Never accept a limiting label.\u003c/p>\n\u003cp>“I never felt invisible,” she says, praising her parents for teaching her confidence. “We can’t afford to wait for the world to be equal to start feeling seen.”\u003c/p>\n\u003cp>When a Native American student tells her he felt uneasy in classes with students wearing Trump hats, she responds: “So you’re in school. Be in school. Get your frickin’ education. Barack and I, all through this presidency, through the lies and the stuff they said about us, all we could do was wake up every day and do our jobs. Let our jobs and our lives speak for itself.”\u003c/p>\n\u003cp>That sounds an awful lot like putting the burden on oppressed people to transcend their own oppression. The Obamas have faced criticism in the past for such “respectability politics”—which also imply that if a person of color doesn’t succeed, perhaps it’s because they didn’t try hard enough. (Remember those Democratic voters who stayed home?)\u003c/p>\n\u003cp>It would have been compelling to see Michelle Obama face some tough questions from someone who legitimately challenges her ideas. But \u003cem>Becoming\u003c/em> is produced by the Obamas’ Higher Ground Productions, following in the footsteps of other recent documentaries—like ESPN’s \u003ca href=\"https://www.espn.com/nba/story/_/id/29127505/espn-michael-jordan-documentary-big-takeaways-episodes-5-6-last-dance\">\u003cem>The Last Dance\u003c/em> \u003c/a>or Hulu’s \u003ca href=\"https://www.hulu.com/series/hillary-793891ec-5bb7-4200-ba93-e3629532d670?&cmp=12386&utm_source=google&utm_medium=SEM&utm_campaign=CM_SEM_Hillary%20Documentary&utm_term=+hulu%20+hillary&ds_rl=1251123&gclid=CjwKCAjwwMn1BRAUEiwAZ_jnEvFpq7FeplEMMgox0Gvbd1vT4aUX-dPNDqKNC6yNqYOWhJOdI8cDxhoCnhkQAvD_BwE&gclsrc=aw.ds\">\u003cem>Hillary\u003c/em>\u003c/a>—which counted on significant participation and support from key subjects to succeed.\u003c/p>\n\u003cp>As good as all of these efforts are, there is also a sense that they can only go so far in challenging their superstar subjects. In \u003cem>Becoming\u003c/em>‘s case, that means a distinct lack of critics shown onscreen and moments that feel too much like an ad for the boss.\u003c/p>\n\u003cp>Despite Michelle Obama’s candor, \u003cem>Becoming \u003c/em>offers a selective view. Barack Obama doesn’t sit for an exclusive interview; daughters Sasha and Malia speak in just a few places. And the former First Lady avoids any direct criticism of political rivals, continuing to go high when others might consider going low.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even with its flaws, \u003cem>Becoming\u003c/em> is a compelling documentary, offering a carefully revealing look at a whip smart, ferociously practical woman trying to understand how her historic time in the White House changed herself, her family and the nation.\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=%27Becoming%27+Offers+A+Revealing+But+Selective+View+Of+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If the pandemic shuts-down TV production for many months, can the industry still crank out new seasons of series television that viewers will watch?\u003c/p>\n\u003cp>Tonight, CBS’ legal drama \u003cem>All Rise\u003c/em> hints at an answer with an episode crafted after actors and production staffers began isolating in their homes. It’s the first network TV drama to film a new virtual episode about the coronavirus pandemic and it unfolds so seamlessly you’d never otherwise know it was developed during a global crisis.\u003c/p>\n\u003cp>The story centers on an ambitious idea by the show’s lead character, Simone Missick’s Judge Lola Carmichael, to conduct a trial over video chat—with attorneys, court staff and even the judge herself appearing from their homes in a proceeding livestreamed publicly (in the show’s fictional world).\u003c/p>\n\u003cp>The trial is a metaphor for what the show itself is trying to pull off. Producers said during a press conference last week—held via video chat, of course—that they didn’t want to end the show’s season on the episode they filmed just before the lockdown.\u003c/p>\n\u003cp>So they asked actors to become one-person production crews: cobbling together technology, turning rooms in their homes into sets and handling makeup or costuming with whatever they had on hand, coached by the show’s remote production staffers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>All Rise\u003c/em> airs on CBS, a network known for its formulaic cops and crime dramas, so there are times when characters are a little too obvious in arguing over the legal and health issues—like watching the dialogue leading up to a Schoolhouse Rock song.\u003c/p>\n\u003cp>Like NBC’s \u003cem>Parks and Recreation\u003c/em> reunion last week, CBS’ \u003cem>All Rise\u003c/em> episode really centers on how friends and family—both biological and work-related—need to connect at a time of disconnection. It’s an obvious note, but it’s difficult to muster a profound, overarching insight on a global pandemic when you’re in the middle of it.\u003c/p>\n\u003cp>Producers of scripted TV face tough choices planning for the future: Do you make the pandemic a part of your show’s ongoing story line, or ignore it the way \u003cem>Friends\u003c/em> sidestepped 9/11? Can a scripted series feature multiple episodes filmed in lockdown before viewer fatigue sets in?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Projects like CBS’ \u003cem>All Rise\u003c/em> season finale, along with the \u003cem>Parks and Recreation\u003c/em> reunion, still feel more like ambitious experiments than a way forward for scripted TV—a creative nod to the challenges we all face, crafted to tide us over until a new normal emerges.\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=CBS%27+Legal+Drama+%27All+Rise%27+Tackles+Coronavirus+As+A+Story+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the pandemic shuts-down TV production for many months, can the industry still crank out new seasons of series television that viewers will watch?\u003c/p>\n\u003cp>Tonight, CBS’ legal drama \u003cem>All Rise\u003c/em> hints at an answer with an episode crafted after actors and production staffers began isolating in their homes. It’s the first network TV drama to film a new virtual episode about the coronavirus pandemic and it unfolds so seamlessly you’d never otherwise know it was developed during a global crisis.\u003c/p>\n\u003cp>The story centers on an ambitious idea by the show’s lead character, Simone Missick’s Judge Lola Carmichael, to conduct a trial over video chat—with attorneys, court staff and even the judge herself appearing from their homes in a proceeding livestreamed publicly (in the show’s fictional world).\u003c/p>\n\u003cp>The trial is a metaphor for what the show itself is trying to pull off. Producers said during a press conference last week—held via video chat, of course—that they didn’t want to end the show’s season on the episode they filmed just before the lockdown.\u003c/p>\n\u003cp>So they asked actors to become one-person production crews: cobbling together technology, turning rooms in their homes into sets and handling makeup or costuming with whatever they had on hand, coached by the show’s remote production staffers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All Rise\u003c/em> airs on CBS, a network known for its formulaic cops and crime dramas, so there are times when characters are a little too obvious in arguing over the legal and health issues—like watching the dialogue leading up to a Schoolhouse Rock song.\u003c/p>\n\u003cp>Like NBC’s \u003cem>Parks and Recreation\u003c/em> reunion last week, CBS’ \u003cem>All Rise\u003c/em> episode really centers on how friends and family—both biological and work-related—need to connect at a time of disconnection. It’s an obvious note, but it’s difficult to muster a profound, overarching insight on a global pandemic when you’re in the middle of it.\u003c/p>\n\u003cp>Producers of scripted TV face tough choices planning for the future: Do you make the pandemic a part of your show’s ongoing story line, or ignore it the way \u003cem>Friends\u003c/em> sidestepped 9/11? Can a scripted series feature multiple episodes filmed in lockdown before viewer fatigue sets in?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Projects like CBS’ \u003cem>All Rise\u003c/em> season finale, along with the \u003cem>Parks and Recreation\u003c/em> reunion, still feel more like ambitious experiments than a way forward for scripted TV—a creative nod to the challenges we all face, crafted to tide us over until a new normal emerges.\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=CBS%27+Legal+Drama+%27All+Rise%27+Tackles+Coronavirus+As+A+Story+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The documentary series \u003cem>The Last Dance\u003c/em>, which began Sunday night on ESPN, is about basketball.\u003c/p>\n\u003cp>Maybe that should be obvious, since it’s the story of Michael Jordan and the dominant Chicago Bulls team that won six NBA championships in the 1990s. But understand: it’s really about basketball. It’s not \u003ca href=\"https://www.kqed.org/arts/11665308/o-j-made-in-america-is-about-america-not-o-j\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>O.J.: Made In America\u003c/em>\u003c/a>, which was primarily about race and policing and media. It’s not like some of the documentaries in ESPN’s \u003cem>30 For 30 \u003c/em>series—to which this feels like a spiritual cousin—that use sports as a way to talk about other things.\u003c/p>\n\u003cp>No, \u003cem>The Last Dance \u003c/em>is really, deeply, intensely about NBA basketball. It’s about why Michael Jordan was as dominant and feared as he was, and about how you build a team that can win that much. It’s also about how even Jordan could not win championships by himself, and about how team dynamics were affected by such a towering figure. It’s about the business of the NBA and the egos and whims of owners and general managers.\u003c/p>\n\u003cp>The structure of \u003cem>The Last Dance\u003c/em> is a little complicated, in that it follows two timelines simultaneously, one gradually catching up to the other. The first is the entire period of the Bulls’ ascendance and dominance, from the drafting of Jordan in 1984 through their six championship seasons: a three-peat in 1992, 1993 and 1994; another in 1996, 1997 and 1998. The second timeline is a much more deliberate examination of just that last winning season, the 1997-98 year in which, despite the five championships they’d already won together, the futures of Jordan, coach Phil Jackson, and underpaid second man Scottie Pippen were all uncertain. (The documentary explains early on that in 1997-98, the Bulls and Jordan allowed a film crew tremendous access, which is why there’s abundant footage from that season.)\u003c/p>\n\u003cp>Director Jason Hehir makes wise use of visual cues and a sliding on-screen timeline to continually reorient you to where you are in the story. And it’s effective to tell the story of that last season and slide back in time, over and over, to revisit the story up to that point. But I suspect there will be people who will find the back and forth frustrating, particularly if they’re following it week by week rather than in a giant binge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the center of the documentary, at the center of the Bulls, and in some ways at the center of the world, especially circa 1993, is Michael Jordan. Jordan has always somehow been both ubiquitous and a little elusive. These are by far the most involved, seemingly candid interviews I’ve ever seen with him; he gave the filmmakers a lot of time to talk about everything from his tensions with Isiah Thomas to the death of his father.\u003c/p>\n\u003cp>Incidentally, the bad blood between the Bulls and the early ’90s Detroit Pistons—Thomas especially—is one of the juiciest tales that arises from the first years of the Bulls’ dominance. Some examinations of old sports rivalries show former athletes burying the hatchet or at least finding some humor in their pasts (as in the outstanding \u003cem>30 For 30\u003c/em> entry \u003cem>Winning Time\u003c/em>, about the Pacers and the Knicks). This is not that kind of documentary. Jordan doesn’t seem to have lost an iota of his disdain when it comes to Thomas, and the filmmakers offer some artfully presented evidence that he’s got good reason to remain frustrated.\u003c/p>\n\u003cp>The interview techniques here are very smart; I especially like the decision to sometimes let an interview subject see the footage of what someone else has already said. Sometimes you get a wry “that’s about right”; sometimes you get a laugh; sometimes you get Jordan roundly ridiculing another player’s reminiscence of perhaps having gotten the better of Jordan once, just for a moment. He assures you that never happened. Never.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Peh9Yqf1GXc\u003c/p>\n\u003cp>In fact, one of the most compelling threads in \u003cem>The Last Dance \u003c/em>is the fine line between Jordan’s unmatched competitive drive—to which everyone attributes much of his success—and his extreme sensitivity to slights. Even at the height of his powers, he cannot bear to have anyone even casually compared to him, in any way, lest his uniqueness be bruised. Over and over, he explains that his desire to win a particular game came from a need to retaliate following something inadequately reverent that was said about him or the Bulls. (This at a time when he was also exhausted by the demands of being as famous as he was.) He attributes one of his best performances to wanting to get back at someone who didn’t greet him at a restaurant.\u003c/p>\n\u003cp>Did Michael Jordan, who could have crushed most of his enemies in multiple ways at any time, actually need to make things this personal in order to be motivated, as he seems to suggest? Or was he just an outstanding basketball player who also nursed decades of grudges because it’s just how he is? Do you need resentments to be that good?\u003c/p>\n\u003cp>It feels important that \u003cem>The Last Dance \u003c/em>doesn’t seem built to change anyone’s opinion of Jordan, for better or worse. It returns again and again to his extraordinary talent, his legendary work ethic (including during his stint in minor league baseball, which took place between the Bulls’ two three-peats), his closeness with his family, and his version of leadership—which looks a lot like bullying, but which teammates who are interviewed generally insist was for the best.\u003c/p>\n\u003cp>But there’s also a lot of time spent on the fact that no matter how good Jordan was, and no matter how much talent he had, he was never going to win six championships without the rest of his team. In that final season, when Pippen—who everyone then agrees is wildly underpaid because he got into an ill-advised seven-year contract—decides to have surgery on his foot at the beginning of the season rather than getting it over with in the off-season, in part because he feels stung by management’s unwillingness to renegotiate, Jordan is irate. Pippen has left him out there to fend for himself, he complains. He has disappointed the team. Indeed, the season doesn’t start off well at all.\u003c/p>\n\u003cp>And … well, wasn’t this Pippen’s point? Wasn’t he precisely trying to demonstrate that he was needed more than they were treating him like he was needed, even with the great Michael Jordan on board? And didn’t he prove he was right? This, too: Couldn’t Jordan have thrown his massive influence behind Pippen’s request for a renegotiation as he had behind Phil Jackson, announcing he’d quit if the coach was replaced? It’s not explicitly explored, but watching Jordan get so angry that someone else was \u003cem>also \u003c/em>trying to have his value recognized is, at times, curious.\u003c/p>\n\u003cp>The biggest open question from \u003cem>The Last Dance \u003c/em>is what it would take to put together a team this dominant over this period of time again. Could you possibly keep guys together long enough? If a Scottie Pippen doesn’t get into a bad seven-year contract (a mistake you have to assume young players want to avoid) that lets the Bulls keep him cheaply, does Michael Jordan get the support he needs to be Michael Jordan in the first place? Put another way: No matter how good LeBron James is, it seems like he was probably never going to win six championships in eight years with the same team.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think it will take at least a passing interest in the NBA, or in Jordan, to find this series fully satisfying. But for people who wonder whether we’ll ever see sports dynasties again, there’s a great deal here to enjoy. And if nothing else, you will certainly see some tremendous dunks.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Jordan+And+The+Chicago+Bulls+Play+Some+Good+Basketball+In+%27The+Last+Dance%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The documentary series \u003cem>The Last Dance\u003c/em>, which began Sunday night on ESPN, is about basketball.\u003c/p>\n\u003cp>Maybe that should be obvious, since it’s the story of Michael Jordan and the dominant Chicago Bulls team that won six NBA championships in the 1990s. But understand: it’s really about basketball. It’s not \u003ca href=\"https://www.kqed.org/arts/11665308/o-j-made-in-america-is-about-america-not-o-j\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>O.J.: Made In America\u003c/em>\u003c/a>, which was primarily about race and policing and media. It’s not like some of the documentaries in ESPN’s \u003cem>30 For 30 \u003c/em>series—to which this feels like a spiritual cousin—that use sports as a way to talk about other things.\u003c/p>\n\u003cp>No, \u003cem>The Last Dance \u003c/em>is really, deeply, intensely about NBA basketball. It’s about why Michael Jordan was as dominant and feared as he was, and about how you build a team that can win that much. It’s also about how even Jordan could not win championships by himself, and about how team dynamics were affected by such a towering figure. It’s about the business of the NBA and the egos and whims of owners and general managers.\u003c/p>\n\u003cp>The structure of \u003cem>The Last Dance\u003c/em> is a little complicated, in that it follows two timelines simultaneously, one gradually catching up to the other. The first is the entire period of the Bulls’ ascendance and dominance, from the drafting of Jordan in 1984 through their six championship seasons: a three-peat in 1992, 1993 and 1994; another in 1996, 1997 and 1998. The second timeline is a much more deliberate examination of just that last winning season, the 1997-98 year in which, despite the five championships they’d already won together, the futures of Jordan, coach Phil Jackson, and underpaid second man Scottie Pippen were all uncertain. (The documentary explains early on that in 1997-98, the Bulls and Jordan allowed a film crew tremendous access, which is why there’s abundant footage from that season.)\u003c/p>\n\u003cp>Director Jason Hehir makes wise use of visual cues and a sliding on-screen timeline to continually reorient you to where you are in the story. And it’s effective to tell the story of that last season and slide back in time, over and over, to revisit the story up to that point. But I suspect there will be people who will find the back and forth frustrating, particularly if they’re following it week by week rather than in a giant binge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the center of the documentary, at the center of the Bulls, and in some ways at the center of the world, especially circa 1993, is Michael Jordan. Jordan has always somehow been both ubiquitous and a little elusive. These are by far the most involved, seemingly candid interviews I’ve ever seen with him; he gave the filmmakers a lot of time to talk about everything from his tensions with Isiah Thomas to the death of his father.\u003c/p>\n\u003cp>Incidentally, the bad blood between the Bulls and the early ’90s Detroit Pistons—Thomas especially—is one of the juiciest tales that arises from the first years of the Bulls’ dominance. Some examinations of old sports rivalries show former athletes burying the hatchet or at least finding some humor in their pasts (as in the outstanding \u003cem>30 For 30\u003c/em> entry \u003cem>Winning Time\u003c/em>, about the Pacers and the Knicks). This is not that kind of documentary. Jordan doesn’t seem to have lost an iota of his disdain when it comes to Thomas, and the filmmakers offer some artfully presented evidence that he’s got good reason to remain frustrated.\u003c/p>\n\u003cp>The interview techniques here are very smart; I especially like the decision to sometimes let an interview subject see the footage of what someone else has already said. Sometimes you get a wry “that’s about right”; sometimes you get a laugh; sometimes you get Jordan roundly ridiculing another player’s reminiscence of perhaps having gotten the better of Jordan once, just for a moment. He assures you that never happened. Never.\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/Peh9Yqf1GXc'\n title='//www.youtube.com/embed/Peh9Yqf1GXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In fact, one of the most compelling threads in \u003cem>The Last Dance \u003c/em>is the fine line between Jordan’s unmatched competitive drive—to which everyone attributes much of his success—and his extreme sensitivity to slights. Even at the height of his powers, he cannot bear to have anyone even casually compared to him, in any way, lest his uniqueness be bruised. Over and over, he explains that his desire to win a particular game came from a need to retaliate following something inadequately reverent that was said about him or the Bulls. (This at a time when he was also exhausted by the demands of being as famous as he was.) He attributes one of his best performances to wanting to get back at someone who didn’t greet him at a restaurant.\u003c/p>\n\u003cp>Did Michael Jordan, who could have crushed most of his enemies in multiple ways at any time, actually need to make things this personal in order to be motivated, as he seems to suggest? Or was he just an outstanding basketball player who also nursed decades of grudges because it’s just how he is? Do you need resentments to be that good?\u003c/p>\n\u003cp>It feels important that \u003cem>The Last Dance \u003c/em>doesn’t seem built to change anyone’s opinion of Jordan, for better or worse. It returns again and again to his extraordinary talent, his legendary work ethic (including during his stint in minor league baseball, which took place between the Bulls’ two three-peats), his closeness with his family, and his version of leadership—which looks a lot like bullying, but which teammates who are interviewed generally insist was for the best.\u003c/p>\n\u003cp>But there’s also a lot of time spent on the fact that no matter how good Jordan was, and no matter how much talent he had, he was never going to win six championships without the rest of his team. In that final season, when Pippen—who everyone then agrees is wildly underpaid because he got into an ill-advised seven-year contract—decides to have surgery on his foot at the beginning of the season rather than getting it over with in the off-season, in part because he feels stung by management’s unwillingness to renegotiate, Jordan is irate. Pippen has left him out there to fend for himself, he complains. He has disappointed the team. Indeed, the season doesn’t start off well at all.\u003c/p>\n\u003cp>And … well, wasn’t this Pippen’s point? Wasn’t he precisely trying to demonstrate that he was needed more than they were treating him like he was needed, even with the great Michael Jordan on board? And didn’t he prove he was right? This, too: Couldn’t Jordan have thrown his massive influence behind Pippen’s request for a renegotiation as he had behind Phil Jackson, announcing he’d quit if the coach was replaced? It’s not explicitly explored, but watching Jordan get so angry that someone else was \u003cem>also \u003c/em>trying to have his value recognized is, at times, curious.\u003c/p>\n\u003cp>The biggest open question from \u003cem>The Last Dance \u003c/em>is what it would take to put together a team this dominant over this period of time again. Could you possibly keep guys together long enough? If a Scottie Pippen doesn’t get into a bad seven-year contract (a mistake you have to assume young players want to avoid) that lets the Bulls keep him cheaply, does Michael Jordan get the support he needs to be Michael Jordan in the first place? Put another way: No matter how good LeBron James is, it seems like he was probably never going to win six championships in eight years with the same team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think it will take at least a passing interest in the NBA, or in Jordan, to find this series fully satisfying. But for people who wonder whether we’ll ever see sports dynasties again, there’s a great deal here to enjoy. And if nothing else, you will certainly see some tremendous dunks.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Jordan+And+The+Chicago+Bulls+Play+Some+Good+Basketball+In+%27The+Last+Dance%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Mrs. America': A Star-Studded Cast Puts the ERA in the Spotlight",
"headTitle": "‘Mrs. America’: A Star-Studded Cast Puts the ERA in the Spotlight | KQED",
"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",
"headTitle": "‘Run,’ Do Not Walk: HBO’s New Smart, Spiky, Sexy Comedy/Thriller | KQED",
"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": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/x9gnW8TAP2U'\n title='//www.youtube.com/embed/x9gnW8TAP2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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\u003c/div>\u003c/p>",
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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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"title": "Need An Escape? Try 'Unorthodox,' 'Baghdad Central' and 'Abigail'",
"headTitle": "Need An Escape? Try ‘Unorthodox,’ ‘Baghdad Central’ and ‘Abigail’ | KQED",
"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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"excerpt": "Critic John Powers recommends three stories to break up the monotony of coronavirus lockdown: 'Unorthodox' on Netflix; 'Baghdad Central' on Hulu and a new translation of Magda Szabó's 1970 novel 'Abigail.'",
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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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"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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"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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"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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"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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"excerpt": "Vintage footage from SoulBeat's commercials, music videos and talk shows has found its way to Instagram.",
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"title": "A Tribute to Soul Beat TV, the Black-Owned Network of East Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "Historic Games, Documentaries and… Sasquatch Calling: ESPN Without Live Sports | KQED",
"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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"excerpt": "ESPN calls itself the \"worldwide leader in sports,\" but there are few live sports to show. So it's scrambling to fill the time, offering diversions like cherry pit spitting and marble racing.",
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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. 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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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