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"content": "\u003cp>As listening habits have shifted away from radio, visual media have become more important for discovering new music. As key scenes in films and television shows unfold, we may find ourselves searching online to identify what song we’re hearing. But who decides what song is playing during those moments?\u003c/p>\n\u003cp>As a music supervisor, Amanda Krieg Thomas has worked on hit TV shows such as \u003cem>The\u003c/em> \u003cem>Americans\u003c/em> and \u003cem>Pose\u003c/em>. She says she gets upwards of 50 pitches a day from people looking to get songs on TV.\u003c/p>\n\u003cp>“There’s record labels; there’s music publishers; there’s third party pitching companies; there are production music libraries, producers, songwriters, managers, artists,” she lists. “I get music sent to me all day, every day.”\u003c/p>\n\u003cp>They’re all hoping for something called “sync placement,” the industry term for matching a song to what’s happening on screen. Licensing that song could earn an artist anywhere from a few thousand dollars to more than $100,000. Negotiating the terms often involves clearing the rights with everyone from record labels to multiple songwriters on a single track. But Krieg Thomas says the creative element can be challenging, too.\u003c/p>\n\u003cp>“It’s all led by the showrunner’s vision, and so my job is servicing that vision,” she says. “Sometimes that involves pitching song ideas, sometimes it involves clearing songs they want. Sometimes it involves coming up with the tapestry, if you will, of the sound of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music supervisor Gabe McDonough does the same, only for major advertising campaigns.\u003c/p>\n\u003cp>In 2015, he helped broker a deal with Ford to feature “Fight Song” by Rachel Platten.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z5zE1_oCCH4\u003c/p>\n\u003cp>Sustained TV exposure helped drive the single up to No. 6 on the Billboard Hot 100 and ignite Platten’s career as multi-platinum selling artist. McDonough says there is no perfect song for an ad, though certain generalities apply.\u003c/p>\n\u003cp>“Usually it’s up tempo, it’s positive, a lot of syncopation,” he says.\u003c/p>\n\u003cp>McDonough says he also tries his best to avoid clichés and trends in song placements.\u003c/p>\n\u003cp>“You know, you’ll hear that [loud thumping] in a lot of ads where people are trying to be swaggery and tough,” he says. “Before that, there was this ‘ukuleles and hand claps and whistles’ thing.”\u003c/p>\n\u003cp>McDonough says what matters most to brands is whether the song can help tell a story in 30 seconds; for artists, it’s how often that story reaches our ears, but both benefit from media buy, or how often the commercial runs.\u003c/p>\n\u003cp>“It’s brute force,” McDonough says. “How many times is that thing in front of people?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1VXEo0MQZw\u003c/p>\n\u003cp>Putting songs in front of listeners used to be the domain of record label A&R reps, industry talent scouts who lean on radio DJs to promote entry-level artists. But today, TV has become so effective, even established artists such as \u003ca href=\"https://consequenceofsound.net/2018/06/grimes-thats-what-the-drugs-are-for-apple/\" target=\"_blank\" rel=\"noopener noreferrer\">Grimes\u003c/a>, \u003ca href=\"https://www.stereogum.com/2031377/migos-position-to-win/music/\" target=\"_blank\" rel=\"noopener noreferrer\">Migos\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener noreferrer\">Beck\u003c/a> are signing deals to plug their songs in ads before they appear on album releases.\u003c/p>\n\u003cp>In the words of music supervisor Morgan Rhodes: “Placement is sort of the new A&R.” Rhodes says she looks for opportunities to introduce audiences to artists who haven’t been widely exposed.\u003c/p>\n\u003cp>“I love the educational and historical part,” she says. “I love the research. I love the digging.”\u003c/p>\n\u003cp>Rhodes was spinning records at NPR member station KCRW in Los Angeles when filmmaker Ava DuVernay invited her to work on the 2012 feature \u003cem>Middle of Nowhere\u003c/em>. Since then, Rhodes has supervised the music for several of DuVernay’s projects, including the 2014 Civil Rights drama, \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>“There was no limit to where I searched [for inspiration]: news articles, conversations with family members,” she says. “And it was a wonderful experience, especially unearthing some artists that hadn’t seen placements and may not have been as remembered.”\u003c/p>\n\u003cp>One of those artists was Martha Bass. Rhodes chose one of her songs, “Walk With Me,” for a key scene: the confrontation at the Edmund Pettus Bridge during the 1965 march from \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Evh-n66–Tc\u003c/p>\n\u003cp>Later, when Rhodes was searching for a song for a 2017 episode of \u003cem>Dear White People\u003c/em> directed by Justin Simien, she thought back to an independent artist she’d featured on her radio show a few years earlier.\u003c/p>\n\u003cp>“We knew that we needed a male voice,” she says. “We knew that we needed a particular kind of singing, sort of a soft voice for the scene, and I remembered James Tillman.”\u003c/p>\n\u003cp>With tens of thousands of tracks uploaded to music streaming services every day, James Tillman says he tries to get his songs out as many ways as possible.\u003c/p>\n\u003cp>“I was on Spotify, Apple Music, Soundcloud, Bandcamp,” he says. “I just wanted to make sure the music was everywhere that it could be.”\u003c/p>\n\u003cp>But after his song “\u003ca href=\"https://www.youtube.com/watch?v=fm6MCUHeFdo\">Casual Encounters\u003c/a>” appeared on\u003cem> Dear White People\u003c/em>, Tillman says his streaming counts spiked, leaving a lasting impact on his audience reach.\u003c/p>\n\u003cp>“That showed me that it leveled the playing field in certain ways, giving me a chance to at least reach people,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fm6MCUHeFdo\u003c/p>\n\u003cp>Rhodes says that with such a crowded streaming environment, TV can help break through all of that online noise.\u003c/p>\n\u003cp>“I’ve seen sort of a shift in people looking to television as an ear for them, looking to television as a source for new music in the same way that we look at places like Spotify,” she says.\u003c/p>\n\u003cp>But song placement is still not a magic bullet: Despite getting his song on a hit TV show, for now James Tillman remains unsigned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One placement could significantly impact your career, but it probably won’t push it over the edge,” he says.\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=With+Shows+Breaking+New+Artists%2C+Music+Supervisors+Are+The+New+A%26R&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As listening habits have shifted away from radio, visual media have become more important for discovering new music. As key scenes in films and television shows unfold, we may find ourselves searching online to identify what song we’re hearing. But who decides what song is playing during those moments?\u003c/p>\n\u003cp>As a music supervisor, Amanda Krieg Thomas has worked on hit TV shows such as \u003cem>The\u003c/em> \u003cem>Americans\u003c/em> and \u003cem>Pose\u003c/em>. She says she gets upwards of 50 pitches a day from people looking to get songs on TV.\u003c/p>\n\u003cp>“There’s record labels; there’s music publishers; there’s third party pitching companies; there are production music libraries, producers, songwriters, managers, artists,” she lists. “I get music sent to me all day, every day.”\u003c/p>\n\u003cp>They’re all hoping for something called “sync placement,” the industry term for matching a song to what’s happening on screen. Licensing that song could earn an artist anywhere from a few thousand dollars to more than $100,000. Negotiating the terms often involves clearing the rights with everyone from record labels to multiple songwriters on a single track. But Krieg Thomas says the creative element can be challenging, too.\u003c/p>\n\u003cp>“It’s all led by the showrunner’s vision, and so my job is servicing that vision,” she says. “Sometimes that involves pitching song ideas, sometimes it involves clearing songs they want. Sometimes it involves coming up with the tapestry, if you will, of the sound of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music supervisor Gabe McDonough does the same, only for major advertising campaigns.\u003c/p>\n\u003cp>In 2015, he helped broker a deal with Ford to feature “Fight Song” by Rachel Platten.\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/Z5zE1_oCCH4'\n title='//www.youtube.com/embed/Z5zE1_oCCH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sustained TV exposure helped drive the single up to No. 6 on the Billboard Hot 100 and ignite Platten’s career as multi-platinum selling artist. McDonough says there is no perfect song for an ad, though certain generalities apply.\u003c/p>\n\u003cp>“Usually it’s up tempo, it’s positive, a lot of syncopation,” he says.\u003c/p>\n\u003cp>McDonough says he also tries his best to avoid clichés and trends in song placements.\u003c/p>\n\u003cp>“You know, you’ll hear that [loud thumping] in a lot of ads where people are trying to be swaggery and tough,” he says. “Before that, there was this ‘ukuleles and hand claps and whistles’ thing.”\u003c/p>\n\u003cp>McDonough says what matters most to brands is whether the song can help tell a story in 30 seconds; for artists, it’s how often that story reaches our ears, but both benefit from media buy, or how often the commercial runs.\u003c/p>\n\u003cp>“It’s brute force,” McDonough says. “How many times is that thing in front of people?”\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/R1VXEo0MQZw'\n title='//www.youtube.com/embed/R1VXEo0MQZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Putting songs in front of listeners used to be the domain of record label A&R reps, industry talent scouts who lean on radio DJs to promote entry-level artists. But today, TV has become so effective, even established artists such as \u003ca href=\"https://consequenceofsound.net/2018/06/grimes-thats-what-the-drugs-are-for-apple/\" target=\"_blank\" rel=\"noopener noreferrer\">Grimes\u003c/a>, \u003ca href=\"https://www.stereogum.com/2031377/migos-position-to-win/music/\" target=\"_blank\" rel=\"noopener noreferrer\">Migos\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener noreferrer\">Beck\u003c/a> are signing deals to plug their songs in ads before they appear on album releases.\u003c/p>\n\u003cp>In the words of music supervisor Morgan Rhodes: “Placement is sort of the new A&R.” Rhodes says she looks for opportunities to introduce audiences to artists who haven’t been widely exposed.\u003c/p>\n\u003cp>“I love the educational and historical part,” she says. “I love the research. I love the digging.”\u003c/p>\n\u003cp>Rhodes was spinning records at NPR member station KCRW in Los Angeles when filmmaker Ava DuVernay invited her to work on the 2012 feature \u003cem>Middle of Nowhere\u003c/em>. Since then, Rhodes has supervised the music for several of DuVernay’s projects, including the 2014 Civil Rights drama, \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>“There was no limit to where I searched [for inspiration]: news articles, conversations with family members,” she says. “And it was a wonderful experience, especially unearthing some artists that hadn’t seen placements and may not have been as remembered.”\u003c/p>\n\u003cp>One of those artists was Martha Bass. Rhodes chose one of her songs, “Walk With Me,” for a key scene: the confrontation at the Edmund Pettus Bridge during the 1965 march from \u003cem>Selma\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Evh-n66'\n title='//www.youtube.com/embed/Evh-n66'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later, when Rhodes was searching for a song for a 2017 episode of \u003cem>Dear White People\u003c/em> directed by Justin Simien, she thought back to an independent artist she’d featured on her radio show a few years earlier.\u003c/p>\n\u003cp>“We knew that we needed a male voice,” she says. “We knew that we needed a particular kind of singing, sort of a soft voice for the scene, and I remembered James Tillman.”\u003c/p>\n\u003cp>With tens of thousands of tracks uploaded to music streaming services every day, James Tillman says he tries to get his songs out as many ways as possible.\u003c/p>\n\u003cp>“I was on Spotify, Apple Music, Soundcloud, Bandcamp,” he says. “I just wanted to make sure the music was everywhere that it could be.”\u003c/p>\n\u003cp>But after his song “\u003ca href=\"https://www.youtube.com/watch?v=fm6MCUHeFdo\">Casual Encounters\u003c/a>” appeared on\u003cem> Dear White People\u003c/em>, Tillman says his streaming counts spiked, leaving a lasting impact on his audience reach.\u003c/p>\n\u003cp>“That showed me that it leveled the playing field in certain ways, giving me a chance to at least reach people,” he says.\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/fm6MCUHeFdo'\n title='//www.youtube.com/embed/fm6MCUHeFdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rhodes says that with such a crowded streaming environment, TV can help break through all of that online noise.\u003c/p>\n\u003cp>“I’ve seen sort of a shift in people looking to television as an ear for them, looking to television as a source for new music in the same way that we look at places like Spotify,” she says.\u003c/p>\n\u003cp>But song placement is still not a magic bullet: Despite getting his song on a hit TV show, for now James Tillman remains unsigned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One placement could significantly impact your career, but it probably won’t push it over the edge,” he says.\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=With+Shows+Breaking+New+Artists%2C+Music+Supervisors+Are+The+New+A%26R&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "RuPaul's Recipe For Success? Love Yourself and Stay Flexible",
"headTitle": "RuPaul’s Recipe For Success? Love Yourself and Stay Flexible | KQED",
"content": "\u003cp>Fans of the VH1 reality show \u003cem>RuPaul’s Drag Race \u003c/em>know that every episode ends with a mantra. After finishing the weekly challenge, the drag queens competing for the title of “America’s Next Drag Superstar” (and a hefty cash prize) gather on the runway before host RuPaul Charles, where the drag icon proclaims: “If you can’t love yourself, how in the hell you gonna love somebody else?”\u003c/p>\n\u003cp>RuPaul says that repeating these words is an important touchstone—both for the show and for life: “These mantras are set to align you with the truth of who you are,” he says. “You are love—and you cannot give something that you do not have.”\u003c/p>\n\u003cp>RuPaul got his start in Atlanta in the ’80s, performing a punk-inspired “genderf***” drag—for example, pairing an old prom dress and a tiara with combat boots and a mohawk.\u003c/p>\n\u003cp>“We did drag as a social commentary,” he says. “It was a reaction to the Reagan ’80s, and it wasn’t trying to look real or pass [as a woman]. It was a rebellion against the status quo.”\u003c/p>\n\u003cp>In 1993, RuPaul’s break-out hit \u003ca href=\"https://www.youtube.com/watch?v=Vw9LOrHU8JI\" target=\"_blank\" rel=\"noopener noreferrer\">“Supermodel (You Better Work)”\u003c/a> brought him—and drag—national attention. Now 59, he sits at the helm of a drag empire. Since it began in 2009, \u003cem>RuPaul’s Drag Race\u003c/em> has launched the careers of hundreds of drag queens. The Emmy-winning series, now in its 12th season, has spin-offs in Chile, Thailand, Canada and the U.K.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vw9LOrHU8JI\u003c/p>\n\u003cp>RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability.\u003c/p>\n\u003cp>“In this life, if you can stay flexible, you have a really good chance of navigating a really rich experience for yourself on this planet,” he says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On his belief that identity is an illusion \u003c/strong>\u003c/p>\n\u003cp>It’s all a lie—this world is a lie. So don’t base your value on the lie. I’ve always been attracted to things that were irreverent, [like] Monty Python, I thought, “Oh, there’s my tribe!” Because even as a kid, I knew that I had a sense that none of this was real, that it was all an illusion and that it would be a mistake to base my value on the lie: Boys, go here. Girls go there. Blacks over here, whites over here … all these superficial rules we come up with are just BS!\u003c/p>\n\u003cp>\u003cstrong>On how his mother influenced his punk sensibility \u003c/strong>\u003c/p>\n\u003cp>My mother was very world-weary. She was someone who I suspect—and she wasn’t very open about anything in her childhood or her background—but I suspect that some horrible thing had happened to her. I felt that. She never talked about it, but she was someone who, because of her world weariness, she instilled in me the ability to not pay attention to what other people had to say about what I was doing. She loved me so much, and she was so proud of the fact that I was gonna do my own thing.\u003c/p>\n\u003cp>So it was a very punk rock approach to life, and I got that from her. She famously says, “If they ain’t paying your bills, pay them no mind.” And I lived my life that way. Yes, I mean, people have said lots of nasty things about me to me and still do, but am I gonna let that stop me? Uh-uh. I will laugh at it and say … The joke is on you, person, because I am going to get as much out of this life as I possibly can—and I have! At 59 years old, I have done a lot of stuff and I’m still going to do a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>On the nightclub scene in the Village in New York in the late ’80s \u003c/strong>\u003c/p>\n\u003cp>We were the children of Warhol. We were the children of David Bowie. And all things were possible. There was a club scene. And back then there were so many clubs. You could go to six different nightclubs per night. And we’re talking Monday through Sunday. You could go every night to a different nightclub. And back then, the clubs were filled with everyone—straight, gay, black, white, Puerto Rican, uptown, downtown, men, women, everybody. And that was the scene, that tapestry of what New York is, or was, was so evident in the nightclub scene. And it was fabulous! It was gorgeous. I’m so proud and so happy I got to experience that.\u003c/p>\n\u003cp>\u003cstrong>On establishing the “Glamizon” look of drag he’s now known for today\u003c/strong>\u003c/p>\n\u003cp>[In 1989] I worked on a demo tape so I could send it to a record company. And that’s what I did for a year. I worked on a demo and basically ate popcorn and seltzer water from the Film Forum because I had a friend who worked there, and so that’s how I sustained myself. And I do a … few gigs here and there. But I wasn’t in the clubs every night like I had been. And in ’92, I got a record deal with Tommy Boy Records, which was a subsidiary of Warner Bros. Records. I had also met with Mathu and Zaldy, two visual designers [on] costume, makeup, everything, and we’d come up with my look, which was then elevated from my \u003cem>Soul Train \u003c/em>dancer look … to the glamazon that you know today. It’s very studied and precise … and that’s how it came about.\u003c/p>\n\u003cp>But also, I knew that, commercially, as someone who’s paying attention, that if I wanted to make it mainstream, I would have to be non-threatening to Betty and Joe Beer Can. And what I did was I came up with a recipe, which was one-part Cher, two-parts David Bowie, one-part Diana Ross and two heaping spoonfuls of Dolly Parton.\u003c/p>\n\u003cp>\u003cstrong>On why drag queens model themselves after the icons like Cher, Liza Minnelli, Barbra Streisand and Diana Ross\u003c/strong>\u003c/p>\n\u003cp>I’ll tell you exactly what it is: It is that they embody both strength and vulnerability. And that is what the child in you, in me and everyone listening remembers, deep in the recesses of your consciousness. … The ability to oscillate between those two emotions, that the strength and the vulnerability is what we are doing on this planet. And that balance, dear listener, is what life is all about. It’s not one or the other. And all of these women that you talked about—Cher and Diana, Barbra—they all exemplify … that vulnerability and strength, that duality.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=RuPaul%27s+Recipe+For+Success%3F+Love+Yourself+And+Stay+Flexible&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the VH1 reality show \u003cem>RuPaul’s Drag Race \u003c/em>know that every episode ends with a mantra. After finishing the weekly challenge, the drag queens competing for the title of “America’s Next Drag Superstar” (and a hefty cash prize) gather on the runway before host RuPaul Charles, where the drag icon proclaims: “If you can’t love yourself, how in the hell you gonna love somebody else?”\u003c/p>\n\u003cp>RuPaul says that repeating these words is an important touchstone—both for the show and for life: “These mantras are set to align you with the truth of who you are,” he says. “You are love—and you cannot give something that you do not have.”\u003c/p>\n\u003cp>RuPaul got his start in Atlanta in the ’80s, performing a punk-inspired “genderf***” drag—for example, pairing an old prom dress and a tiara with combat boots and a mohawk.\u003c/p>\n\u003cp>“We did drag as a social commentary,” he says. “It was a reaction to the Reagan ’80s, and it wasn’t trying to look real or pass [as a woman]. It was a rebellion against the status quo.”\u003c/p>\n\u003cp>In 1993, RuPaul’s break-out hit \u003ca href=\"https://www.youtube.com/watch?v=Vw9LOrHU8JI\" target=\"_blank\" rel=\"noopener noreferrer\">“Supermodel (You Better Work)”\u003c/a> brought him—and drag—national attention. Now 59, he sits at the helm of a drag empire. Since it began in 2009, \u003cem>RuPaul’s Drag Race\u003c/em> has launched the careers of hundreds of drag queens. The Emmy-winning series, now in its 12th season, has spin-offs in Chile, Thailand, Canada and the U.K.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/Vw9LOrHU8JI'\n title='//www.youtube.com/embed/Vw9LOrHU8JI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability.\u003c/p>\n\u003cp>“In this life, if you can stay flexible, you have a really good chance of navigating a really rich experience for yourself on this planet,” he says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On his belief that identity is an illusion \u003c/strong>\u003c/p>\n\u003cp>It’s all a lie—this world is a lie. So don’t base your value on the lie. I’ve always been attracted to things that were irreverent, [like] Monty Python, I thought, “Oh, there’s my tribe!” Because even as a kid, I knew that I had a sense that none of this was real, that it was all an illusion and that it would be a mistake to base my value on the lie: Boys, go here. Girls go there. Blacks over here, whites over here … all these superficial rules we come up with are just BS!\u003c/p>\n\u003cp>\u003cstrong>On how his mother influenced his punk sensibility \u003c/strong>\u003c/p>\n\u003cp>My mother was very world-weary. She was someone who I suspect—and she wasn’t very open about anything in her childhood or her background—but I suspect that some horrible thing had happened to her. I felt that. She never talked about it, but she was someone who, because of her world weariness, she instilled in me the ability to not pay attention to what other people had to say about what I was doing. She loved me so much, and she was so proud of the fact that I was gonna do my own thing.\u003c/p>\n\u003cp>So it was a very punk rock approach to life, and I got that from her. She famously says, “If they ain’t paying your bills, pay them no mind.” And I lived my life that way. Yes, I mean, people have said lots of nasty things about me to me and still do, but am I gonna let that stop me? Uh-uh. I will laugh at it and say … The joke is on you, person, because I am going to get as much out of this life as I possibly can—and I have! At 59 years old, I have done a lot of stuff and I’m still going to do a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>On the nightclub scene in the Village in New York in the late ’80s \u003c/strong>\u003c/p>\n\u003cp>We were the children of Warhol. We were the children of David Bowie. And all things were possible. There was a club scene. And back then there were so many clubs. You could go to six different nightclubs per night. And we’re talking Monday through Sunday. You could go every night to a different nightclub. And back then, the clubs were filled with everyone—straight, gay, black, white, Puerto Rican, uptown, downtown, men, women, everybody. And that was the scene, that tapestry of what New York is, or was, was so evident in the nightclub scene. And it was fabulous! It was gorgeous. I’m so proud and so happy I got to experience that.\u003c/p>\n\u003cp>\u003cstrong>On establishing the “Glamizon” look of drag he’s now known for today\u003c/strong>\u003c/p>\n\u003cp>[In 1989] I worked on a demo tape so I could send it to a record company. And that’s what I did for a year. I worked on a demo and basically ate popcorn and seltzer water from the Film Forum because I had a friend who worked there, and so that’s how I sustained myself. And I do a … few gigs here and there. But I wasn’t in the clubs every night like I had been. And in ’92, I got a record deal with Tommy Boy Records, which was a subsidiary of Warner Bros. Records. I had also met with Mathu and Zaldy, two visual designers [on] costume, makeup, everything, and we’d come up with my look, which was then elevated from my \u003cem>Soul Train \u003c/em>dancer look … to the glamazon that you know today. It’s very studied and precise … and that’s how it came about.\u003c/p>\n\u003cp>But also, I knew that, commercially, as someone who’s paying attention, that if I wanted to make it mainstream, I would have to be non-threatening to Betty and Joe Beer Can. 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"title": "'Devs' Explores Modern, Tech-Driven Cultural Alienation in San Francisco",
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"content": "\u003cp>\u003cem>\u003cstrong>The first two episodes of \u003c/strong>\u003c/em>\u003cstrong>Devs \u003c/strong>\u003cem>\u003cstrong>drop on FX on Hulu on Thursday, March 5th. The remaining six episodes will be published over the following six weeks.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The light, in the fascinating and frustrating limited series \u003cem>Devs\u003c/em>, is always golden. Doesn’t matter if we find ourselves outside (as we do in any number of establishing shots that soar over downtown San Francisco as the first rays of sunlight burnish every surface to a blinding sheen), or if we’re inside (as we are in the many scenes taking place within the Devs Lab—a gleaming cube mysteriously suspended in mid-air inside a vast, golden vault, where mysterious things are afoot, mysteriously, amid pulsing, yellow, mysterious light).\u003c/p>\n\u003cp>What the various coders who work in that gorgeous, glowing space are actually up to is something the series, written and directed by Alex Garland, parcels out slowly.\u003c/p>\n\u003cp>Moodily.\u003c/p>\n\u003cp>\u003cem>Broodingly\u003c/em>, even.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None of which should come as a surprise to those who’ve followed Garland’s career. His films \u003cem>Ex Machina\u003c/em> and \u003cem>Annihilation\u003c/em> took pulpy, familiar sci-fi premises (robots and alien invasion, respectively) and set about methodically dissecting them, uncovering satisfying new layers inside their central metaphors—the nature of consciousness (\u003cem>Ex Machina\u003c/em>) and the power of depression and grief to alter our perception (\u003cem>Annihilatio\u003c/em>n).\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>concerns itself with both of those themes, to varying degrees—but the act of stretching its story over eight hours saps the momentum by allowing for repetitive story beats and ponderous, unintentionally funny navel-gazing dialogue about the state of the universe.\u003c/p>\n\u003cp>It can’t help but feel of-the-moment, however, taking place as it does largely on the bucolic Bay Area campus of a tech firm led by an eccentric, leonine CEO (Nick Offerman)—an oasis of redwood trees, fixie bikes and glass-paneled workspaces. Two software engineers at the firm, Lily (Sonoya Mizuno) and Sergei (Karl Glusman) share an apartment facing Dolores Park; in the morning, they step over a man sleeping in their front doorway.\u003c/p>\n\u003cp>When Sergei gets tapped to join the Devs Team, Lily finds herself drawn into a world of corporate espionage, violence and, not for nothing, quantum physics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aoNloYTsH0Y\u003c/p>\n\u003cp>“Finds herself drawn into” being the operative phrase, here. On those rare occasions Mizuno’s Lily is called upon to emote, she’s quite good—but she spends the vast majority of her screentime stoically being acted upon. The script has her chafing against the idea of being rescued by men like Sergei or her former boyfriend Jamie (a wryly funny Jin Ha), but then proceeds to have her … be rescued. By men. A lot.\u003c/p>\n\u003cp>Which would be fine, or at least not a deal-breaker, if the series weren’t obsessed with underlining Lily’s chosen status. Other characters are forever telling her she’s “exceptional,” “smart,” “strong” and “special,” but she’s afforded precious few opportunities to make that case to us herself. Her choices keep getting circumscribed, and she keeps reacting by … not reacting.\u003c/p>\n\u003cp>Now: It could be argued that there exists a clear, structural, story-logic reason for Lily’s lack of agency which I will not spoil. Even so, it’s one thing to understand the intellectual point \u003cem>Devs \u003c/em>is making with Lily’s passivity, and quite another for it to work emotionally—and dramatically.\u003c/p>\n\u003cp>The show is gorgeously shot, and features sparks of deadpan humor from Devs coders played by Stephen McKinley Henderson and Cailee Spaeny. Alison Pill, as Offerman’s second-in-command, is given a lot of those “nature of the universe” monologues to deliver, and she does so with a blank, affectless stare that’s duly chilling. The great Zach Grenier, as a villainous head of security, goes about his grim business with a hard-nosed menace.\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>gets most interesting when it drops its whispered, impassive tone and lets, for example, Jin Ha’s character inject a much-needed note of humanity, or when a powerful Senator played by Janet Mock gets to rake Offerman’s imperious tech leader over the coals:\u003c/p>\n\u003cblockquote>\u003cp>A.I. is gonna create 60% unemployment. Instagram makes people feel s**t about their lives. Twitter makes them feel reviled. Facebook destroyed democracy. They use you, need you … but they don’t like you anymore.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There’s a rawness behind those words, a beating pulse, a clear point of view that only too rarely makes its presence felt over the course of the series’ eight episodes. The plague of modern, tech-driven cultural alienation is \u003cem>Devs\u003c/em>‘ theme—and it’s a solid one. The problem, from a pure storytelling point of view, is that the show’s tone, characters and narrative momentum have all surrendered to that same detached, emotionally isolated form of disaffection.\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=Tech+Bubble%3A+%27Devs%27+Is+Stylish%2C+But+Hollow+At+The+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>The first two episodes of \u003c/strong>\u003c/em>\u003cstrong>Devs \u003c/strong>\u003cem>\u003cstrong>drop on FX on Hulu on Thursday, March 5th. The remaining six episodes will be published over the following six weeks.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The light, in the fascinating and frustrating limited series \u003cem>Devs\u003c/em>, is always golden. Doesn’t matter if we find ourselves outside (as we do in any number of establishing shots that soar over downtown San Francisco as the first rays of sunlight burnish every surface to a blinding sheen), or if we’re inside (as we are in the many scenes taking place within the Devs Lab—a gleaming cube mysteriously suspended in mid-air inside a vast, golden vault, where mysterious things are afoot, mysteriously, amid pulsing, yellow, mysterious light).\u003c/p>\n\u003cp>What the various coders who work in that gorgeous, glowing space are actually up to is something the series, written and directed by Alex Garland, parcels out slowly.\u003c/p>\n\u003cp>Moodily.\u003c/p>\n\u003cp>\u003cem>Broodingly\u003c/em>, even.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None of which should come as a surprise to those who’ve followed Garland’s career. His films \u003cem>Ex Machina\u003c/em> and \u003cem>Annihilation\u003c/em> took pulpy, familiar sci-fi premises (robots and alien invasion, respectively) and set about methodically dissecting them, uncovering satisfying new layers inside their central metaphors—the nature of consciousness (\u003cem>Ex Machina\u003c/em>) and the power of depression and grief to alter our perception (\u003cem>Annihilatio\u003c/em>n).\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>concerns itself with both of those themes, to varying degrees—but the act of stretching its story over eight hours saps the momentum by allowing for repetitive story beats and ponderous, unintentionally funny navel-gazing dialogue about the state of the universe.\u003c/p>\n\u003cp>It can’t help but feel of-the-moment, however, taking place as it does largely on the bucolic Bay Area campus of a tech firm led by an eccentric, leonine CEO (Nick Offerman)—an oasis of redwood trees, fixie bikes and glass-paneled workspaces. Two software engineers at the firm, Lily (Sonoya Mizuno) and Sergei (Karl Glusman) share an apartment facing Dolores Park; in the morning, they step over a man sleeping in their front doorway.\u003c/p>\n\u003cp>When Sergei gets tapped to join the Devs Team, Lily finds herself drawn into a world of corporate espionage, violence and, not for nothing, quantum physics.\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/aoNloYTsH0Y'\n title='//www.youtube.com/embed/aoNloYTsH0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Finds herself drawn into” being the operative phrase, here. On those rare occasions Mizuno’s Lily is called upon to emote, she’s quite good—but she spends the vast majority of her screentime stoically being acted upon. The script has her chafing against the idea of being rescued by men like Sergei or her former boyfriend Jamie (a wryly funny Jin Ha), but then proceeds to have her … be rescued. By men. A lot.\u003c/p>\n\u003cp>Which would be fine, or at least not a deal-breaker, if the series weren’t obsessed with underlining Lily’s chosen status. Other characters are forever telling her she’s “exceptional,” “smart,” “strong” and “special,” but she’s afforded precious few opportunities to make that case to us herself. Her choices keep getting circumscribed, and she keeps reacting by … not reacting.\u003c/p>\n\u003cp>Now: It could be argued that there exists a clear, structural, story-logic reason for Lily’s lack of agency which I will not spoil. Even so, it’s one thing to understand the intellectual point \u003cem>Devs \u003c/em>is making with Lily’s passivity, and quite another for it to work emotionally—and dramatically.\u003c/p>\n\u003cp>The show is gorgeously shot, and features sparks of deadpan humor from Devs coders played by Stephen McKinley Henderson and Cailee Spaeny. Alison Pill, as Offerman’s second-in-command, is given a lot of those “nature of the universe” monologues to deliver, and she does so with a blank, affectless stare that’s duly chilling. The great Zach Grenier, as a villainous head of security, goes about his grim business with a hard-nosed menace.\u003c/p>\n\u003cp>\u003cem>Devs \u003c/em>gets most interesting when it drops its whispered, impassive tone and lets, for example, Jin Ha’s character inject a much-needed note of humanity, or when a powerful Senator played by Janet Mock gets to rake Offerman’s imperious tech leader over the coals:\u003c/p>\n\u003cblockquote>\u003cp>A.I. is gonna create 60% unemployment. Instagram makes people feel s**t about their lives. Twitter makes them feel reviled. Facebook destroyed democracy. They use you, need you … but they don’t like you anymore.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>There’s a rawness behind those words, a beating pulse, a clear point of view that only too rarely makes its presence felt over the course of the series’ eight episodes. The plague of modern, tech-driven cultural alienation is \u003cem>Devs\u003c/em>‘ theme—and it’s a solid one. The problem, from a pure storytelling point of view, is that the show’s tone, characters and narrative momentum have all surrendered to that same detached, emotionally isolated form of disaffection.\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=Tech+Bubble%3A+%27Devs%27+Is+Stylish%2C+But+Hollow+At+The+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Claire Danes Reflects 'With Gratitude' on Her Life-Changing 'Homeland' Tenure",
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"content": "\u003cp>It’s been nearly a decade since actor Claire Danes first appeared as CIA agent Carrie Mathison on the Showtime series \u003cem>Homeland\u003c/em>. Now that the show is in its eighth and final season, Danes is feeling reflective about its run.\u003c/p>\n\u003cp>“I started the show as a barely married person, and I’m leaving the show as a mother of two. [We] just celebrated our ten-year wedding anniversary,” she says. “It’s going to be a while before I can understand and I can appreciate what this is all meant to me … More than anything, I’m filled with gratitude.”\u003c/p>\n\u003cp>On \u003cem>Homeland, \u003c/em>she plays a brilliant agent who is sometimes subject to erratic behavior because she has bipolar disorder. The series initially focused on fighting terrorism, but more recently \u003cem>Homeland \u003c/em>has dealt with Russian meddling in American politics, and a conspiracy within the American government to take down the president.\u003c/p>\n\u003cp>“Every year before the writers start designing the season, we spend a week in D.C. talking to people in the clandestine services and journalists and political insiders. We kind of take a deep dive into what’s churning and what’s going to be especially relevant in a year’s time when the show is going to air,” Danes says. “Even so, there’s always some kind of inexplicable force at play that creates some mirroring that there’s no way we could have even anticipated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mXFZ4fEPRJ8\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On filming \u003c/strong>\u003cem>\u003cstrong>Homeland \u003c/strong>\u003c/em>\u003cstrong>through both of her pregnancies \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point [when] I was pregnant with Cyrus, we were shooting the second season. I was about seven months pregnant. It was a night shoot. We were shooting in some old sewage factory, some kind of icky, icky place. I had been kidnapped by the baddy of the season, Abu Nazir. And I was handcuffed to a pipe. It was 4 in the morning. I was so tired. And I just thought, I don’t think this is safe. This is exactly the opposite of where I want to be. …\u003c/p>\n\u003cp>And then with Rowan, five years later, I was filming [during] the first and second trimester … so then the challenge was just being exhausted all the time and nauseous, and I kept falling asleep in between takes, but I couldn’t tell anybody why. My dresser, who’s this really lovely woman, she had crocheted a bag for me, and I fell asleep on this crocheted bag, and it looked like I had third-degree burns on my face. They put a hair dryer to it. We had to wait for about 20 minutes before we could film. I just thought: Oh my God, do they think I have a substance abuse issue? I was really paranoid about that, but I was just so exhausted and I just wanted to scream, “I’m pregnant!”\u003c/p>\n\u003cp>\u003cstrong>On her breakout role in \u003c/strong>\u003cstrong>\u003cem>My So-Called Life\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I remember just being amazed by the quality of the writing, that somebody out there had been able to articulate what I was going through so, so perfectly. I hadn’t encountered that before. So it was just a profound relief and I understood it—and I felt understood by it. I think I was really lucky that the people making that show had the sensibility that they had, that they were really interested in telling a story that was really confrontingly honest.\u003c/p>\n\u003cp>It’s expensive to hire an actual kid. Usually it’s an older person who can pass for a teenager, because the union is very strict about child protection. Every kid has to go to school for three hours a day. They can only film for 10 hours a day. So it’s a real investment. But I think they were very keen to protect the veracity of the show and have an actual high school person render what it was to be in high school.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X7zhywDFux0\u003c/p>\n\u003cp>\u003cstrong>On the difficulty of navigating adolescence while also being on TV\u003c/strong>\u003c/p>\n\u003cp>Adolescence is a difficult time, full stop. In some ways, I think I ran into acting because I was struggling emotionally just with that reality. I really had a hard time in junior high school and was bullied and I just hated the social dynamics. I got to reflect on that in such an incredible way with \u003cem>My So-Called Life\u003c/em>. And then I was kind of buffered from the actual experience of it, because I was suddenly in a world full of adults who were much more humane. … But at the same time, I was also not having to develop these social strategies or techniques. My development emotionally was a little stunted, and that did catch up with me eventually. That was a major reason why I chose to stop acting for a time and I went to college to just give myself a chance to catch up with some of that developmental work, and just hang out with kids my own age in a safe place.\u003c/p>\n\u003cp>\u003cstrong>On experiencing\u003c/strong> \u003cstrong>terrifying visions of ghosts and gargoyles as a kid \u003c/strong>\u003c/p>\n\u003cp>I probably had a very active imagination and was learning how to wrangle it, to differentiate the real from the unreal, and that takes discipline. I think I was still just developing it. I also think maybe there was a kind of burgeoning OCD, because a lot of the behavior was ritualistic. These creatures that I “saw” would to talk to me and tell me to do things like … hold a contorted position for 20 minutes or something. But I think there were some overlaps there, and it didn’t take long to undo it. As soon as I found myself in a therapist’s office at 6 [years old], I was like, “Oh, I think I have a problem.” And as soon as I became conscious of it, it almost immediately started to dissipate.\u003c/p>\n\u003cp>\u003cstrong>On turning down a part on the soap opera \u003c/strong>\u003cstrong>\u003cem>One Life to Live\u003c/em>\u003c/strong>\u003cstrong> when she was 12 \u003c/strong>\u003c/p>\n\u003cp>I was worried about selling out, and I knew that I was malleable as a performer, that I was still very new at this and kind of fungible and I didn’t want to develop bad habits, which I might do on a soap opera. So it was self-protective. That sounds so precocious. I haven’t had as much integrity, ever! I remember my agent was rather surprised that that was such a clear pass for me. I can’t account for these things. They’re funny to me now, especially now that I have kids, because I just think of age so differently. My boys seem so tiny and to think that in two years time, Cyrus might be thinking about these ideas is incomprehensible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Claire+Danes+Reflects+%27With+Gratitude%27+On+Her+Life-Changing+%27Homeland%27+Tenure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been nearly a decade since actor Claire Danes first appeared as CIA agent Carrie Mathison on the Showtime series \u003cem>Homeland\u003c/em>. Now that the show is in its eighth and final season, Danes is feeling reflective about its run.\u003c/p>\n\u003cp>“I started the show as a barely married person, and I’m leaving the show as a mother of two. [We] just celebrated our ten-year wedding anniversary,” she says. “It’s going to be a while before I can understand and I can appreciate what this is all meant to me … More than anything, I’m filled with gratitude.”\u003c/p>\n\u003cp>On \u003cem>Homeland, \u003c/em>she plays a brilliant agent who is sometimes subject to erratic behavior because she has bipolar disorder. The series initially focused on fighting terrorism, but more recently \u003cem>Homeland \u003c/em>has dealt with Russian meddling in American politics, and a conspiracy within the American government to take down the president.\u003c/p>\n\u003cp>“Every year before the writers start designing the season, we spend a week in D.C. talking to people in the clandestine services and journalists and political insiders. We kind of take a deep dive into what’s churning and what’s going to be especially relevant in a year’s time when the show is going to air,” Danes says. “Even so, there’s always some kind of inexplicable force at play that creates some mirroring that there’s no way we could have even anticipated.”\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/mXFZ4fEPRJ8'\n title='//www.youtube.com/embed/mXFZ4fEPRJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On filming \u003c/strong>\u003cem>\u003cstrong>Homeland \u003c/strong>\u003c/em>\u003cstrong>through both of her pregnancies \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point [when] I was pregnant with Cyrus, we were shooting the second season. I was about seven months pregnant. It was a night shoot. We were shooting in some old sewage factory, some kind of icky, icky place. I had been kidnapped by the baddy of the season, Abu Nazir. And I was handcuffed to a pipe. It was 4 in the morning. I was so tired. And I just thought, I don’t think this is safe. This is exactly the opposite of where I want to be. …\u003c/p>\n\u003cp>And then with Rowan, five years later, I was filming [during] the first and second trimester … so then the challenge was just being exhausted all the time and nauseous, and I kept falling asleep in between takes, but I couldn’t tell anybody why. My dresser, who’s this really lovely woman, she had crocheted a bag for me, and I fell asleep on this crocheted bag, and it looked like I had third-degree burns on my face. They put a hair dryer to it. We had to wait for about 20 minutes before we could film. I just thought: Oh my God, do they think I have a substance abuse issue? I was really paranoid about that, but I was just so exhausted and I just wanted to scream, “I’m pregnant!”\u003c/p>\n\u003cp>\u003cstrong>On her breakout role in \u003c/strong>\u003cstrong>\u003cem>My So-Called Life\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I remember just being amazed by the quality of the writing, that somebody out there had been able to articulate what I was going through so, so perfectly. I hadn’t encountered that before. So it was just a profound relief and I understood it—and I felt understood by it. I think I was really lucky that the people making that show had the sensibility that they had, that they were really interested in telling a story that was really confrontingly honest.\u003c/p>\n\u003cp>It’s expensive to hire an actual kid. Usually it’s an older person who can pass for a teenager, because the union is very strict about child protection. Every kid has to go to school for three hours a day. They can only film for 10 hours a day. So it’s a real investment. But I think they were very keen to protect the veracity of the show and have an actual high school person render what it was to be in high school.\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/X7zhywDFux0'\n title='//www.youtube.com/embed/X7zhywDFux0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the difficulty of navigating adolescence while also being on TV\u003c/strong>\u003c/p>\n\u003cp>Adolescence is a difficult time, full stop. In some ways, I think I ran into acting because I was struggling emotionally just with that reality. I really had a hard time in junior high school and was bullied and I just hated the social dynamics. I got to reflect on that in such an incredible way with \u003cem>My So-Called Life\u003c/em>. And then I was kind of buffered from the actual experience of it, because I was suddenly in a world full of adults who were much more humane. … But at the same time, I was also not having to develop these social strategies or techniques. My development emotionally was a little stunted, and that did catch up with me eventually. That was a major reason why I chose to stop acting for a time and I went to college to just give myself a chance to catch up with some of that developmental work, and just hang out with kids my own age in a safe place.\u003c/p>\n\u003cp>\u003cstrong>On experiencing\u003c/strong> \u003cstrong>terrifying visions of ghosts and gargoyles as a kid \u003c/strong>\u003c/p>\n\u003cp>I probably had a very active imagination and was learning how to wrangle it, to differentiate the real from the unreal, and that takes discipline. I think I was still just developing it. I also think maybe there was a kind of burgeoning OCD, because a lot of the behavior was ritualistic. These creatures that I “saw” would to talk to me and tell me to do things like … hold a contorted position for 20 minutes or something. But I think there were some overlaps there, and it didn’t take long to undo it. As soon as I found myself in a therapist’s office at 6 [years old], I was like, “Oh, I think I have a problem.” And as soon as I became conscious of it, it almost immediately started to dissipate.\u003c/p>\n\u003cp>\u003cstrong>On turning down a part on the soap opera \u003c/strong>\u003cstrong>\u003cem>One Life to Live\u003c/em>\u003c/strong>\u003cstrong> when she was 12 \u003c/strong>\u003c/p>\n\u003cp>I was worried about selling out, and I knew that I was malleable as a performer, that I was still very new at this and kind of fungible and I didn’t want to develop bad habits, which I might do on a soap opera. So it was self-protective. That sounds so precocious. I haven’t had as much integrity, ever! I remember my agent was rather surprised that that was such a clear pass for me. I can’t account for these things. They’re funny to me now, especially now that I have kids, because I just think of age so differently. My boys seem so tiny and to think that in two years time, Cyrus might be thinking about these ideas is incomprehensible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Claire+Danes+Reflects+%27With+Gratitude%27+On+Her+Life-Changing+%27Homeland%27+Tenure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Suicide of Caroline Flack, Tabloid Gossip and the Power of UK Newspapers",
"headTitle": "The Suicide of Caroline Flack, Tabloid Gossip and the Power of UK Newspapers | KQED",
"content": "\u003cp>The outpouring on social media arrived swiftly after the news of Caroline Flack’s death. The 40-year-old \u003ca href=\"https://www.kqed.org/pop/106271/dear-american-television-please-dont-ruin-love-island\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Love Island\u003c/em>\u003c/a> host and one of the U.K.’s most popular TV stars was found in her London apartment, dead from an apparent suicide, on Feb. 15. Her death came less than three weeks before she was due in court over the alleged assault of her boyfriend (she had pleaded not guilty), and years after unrelenting press coverage about her personal life had begun.\u003c/p>\n\u003cp>Fans and fellow celebrities quickly took to Twitter and called out the press for overburdening Flack in the months before her death.\u003c/p>\n\u003cp>https://twitter.com/matthaig1/status/1228749821881847808\u003c/p>\n\u003cp>https://twitter.com/mrdanwalker/status/1228749830350045185\u003c/p>\n\u003cp>https://twitter.com/LukeGoss/status/1228815633648762881\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The publication under the most immediate scrutiny was \u003cem>The Sun\u003c/em>, a daily tabloid that has long been \u003ca href=\"https://en.wikipedia.org/wiki/The_Sun_(United_Kingdom)#Circulation\" target=\"_blank\" rel=\"noopener noreferrer\">the biggest-selling newspaper\u003c/a> in the U.K., despite a number of national scandals in which the outlet has been accused of \u003ca href=\"https://www.theguardian.com/media/2016/jul/28/katie-hopkins-migrants-ipso-sun-cockroaches\" target=\"_blank\" rel=\"noopener noreferrer\">xenophobia\u003c/a>, \u003ca href=\"https://www.theguardian.com/commentisfree/2012/sep/14/sun-page-3-visible-tip-misogynys-iceberg\" target=\"_blank\" rel=\"noopener noreferrer\">misogyny\u003c/a> and, most famously, \u003ca href=\"https://en.wikipedia.org/wiki/Hillsborough_disaster\" target=\"_blank\" rel=\"noopener noreferrer\">victim blaming\u003c/a>. When news of Flack’s death broke, \u003cem>The Sun\u003c/em> was quick to remove a recent\u003ca href=\"https://www.theguardian.com/media/2020/feb/15/the-sun-takes-down-article-about-caroline-flack-from-website\" target=\"_blank\" rel=\"noopener noreferrer\"> negative story\u003c/a> it had published about her.\u003c/p>\n\u003cp>The truth though, is that all of the U.K.’s daily tabloids had paid keen attention to Flack’s personal life throughout her career—in December, \u003cem>The Daily Mail\u003c/em> wrote a story about her “\u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-7789585/Inside-Caroline-Flacks-car-crash-love-life.html\" target=\"_blank\" rel=\"noopener noreferrer\">car crash love life\u003c/a>.” That kind of scrutiny first started with her controversial relationship with Harry Styles when he was 17 and she was 31, continued after a brief dalliance with Prince Harry (before he’d met Meghan Markle), and was ongoing at the time of her death thanks to the alleged assault of her boyfriend, Lewis Burton, who she was said to have struck with a lamp.\u003c/p>\n\u003cp>It’s worth noting that despite consistent negative coverage about her relationships, it’s hard to find anyone in Flack’s life with anything bad to say about her. Harry Styles arrived at Tuesday’s BRIT Awards wearing a black ribbon, and moved many with his \u003ca href=\"https://www.youtube.com/watch?v=JkgBUvgNeoM\" target=\"_blank\" rel=\"noopener noreferrer\">emotional performance\u003c/a> of “Falling.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bFSFpHjsLY0\u003c/p>\n\u003cp>Not only was Lewis Burton still in a relationship with Flack at the time of her death, he had withdrawn his complaint about the alleged assault (the charges were instead brought by Britain’s \u003ca href=\"https://www.lbc.co.uk/radio/presenters/andrew-castle/caroline-flack-charges-cps-prosecution/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Prosecution Service\u003c/a>) and publicly defended her in the midst of the controversy and imminent trial. After \u003cem>The Sun\u003c/em> published photos of a blood-soaked sheet purported to be from injuries Flack inflicted on Burton, he \u003ca href=\"https://www.the-sun.com/news/206179/gruesome-pic-of-scene-after-caroline-flacks-boyfriend-was-assaulted-shows-mostly-her-blood/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram\u003c/a>, “This isn’t my blood and I didn’t get hit over the head with a lamp. Can everyone stop now.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B8nqjfWBwjA/\u003c/p>\n\u003cp>BBC Radio DJ and friend to Flack, Laura Whitmore, said on the air the day after her death: “I’m not going to pretend that she was perfect. But is anyone? She lived every mistake publicly under the scrutiny of the media … To the press, the newspapers who created clickbait, who demonize and tear down success, we’ve had enough.”\u003c/p>\n\u003cp>In the wake of Flack’s death, an online petition was quickly set up demanding the \u003ca href=\"https://you.38degrees.org.uk/petitions/flacks-law?bucket=email-blast-17_2_2020_carolines_law&source=twitter-share-button&utm_campaign=blast2020-02-17&utm_source=twitter&share=8890be77-fce2-4300-a78e-3394269360c9\" target=\"_blank\" rel=\"noopener noreferrer\">creation of a law\u003c/a> (specifically “Caroline’s Law”), “that would make it a criminal offense, not dissimilar to Corporate Manslaughter, for the British Media to knowingly and relentlessly bully a person, whether they be in the public eye or not, up to the point that they take their own life.” It had received over 737,000 signatures at the time of writing. (A further 218,000 people signed a petition asking for \u003ca href=\"https://www.change.org/p/secretary-of-state-for-digital-culture-media-and-sport-launch-government-inquiry-into-the-british-tabloids-following-death-of-caroline-flack?recruiter=1043035832&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition&utm_term=petition_dashboard\" target=\"_blank\" rel=\"noopener noreferrer\">a government inquiry\u003c/a> into Flack’s death.)\u003c/p>\n\u003cp>Such suggestions may seem like an overreaction in America, but the U.K. has been struggling with \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">questions around press conduct\u003c/a> and intrusion since the death of Princess Diana in 1997. At that time there was speculation that not only did the press hound her literally to death, but that the British public’s outpouring of grief afterwards was somehow related to guilt over its own enthusiastic consumption of stories that violated her privacy. [aside postid='arts_13866072,arts_13863206']\u003c/p>\n\u003cp>In the years since, however, little has changed. Between 2005 and 2011, investigations by both the Press Complaints Commission and \u003cem>The Guardian\u003c/em> revealed that British newspapers, including \u003cem>News of the World\u003c/em>, \u003cem>The Daily Mirror\u003c/em> and \u003cem>The Sun—\u003c/em>all owned by Rupert Murdoch’s News International corporation—had indulged in police bribery and phone hacking. Victims of the latter included celebrities, royals, politicians and, worst of all, the families of high-profile murder and terrorism victims.\u003c/p>\n\u003cp>These revelations resulted in the closure of \u003cem>News of the World\u003c/em>, multiple arrests and hundreds of thousands of pounds in compensation payments. But the smallness of the U.K. (geographically, it’s almost half the size of California) in combination with the sheer power of its handful of daily newspapers (\u003ca href=\"https://www.ofcom.org.uk/__data/assets/pdf_file/0024/116529/news-consumption-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">40% of people\u003c/a> in the U.K. regularly read newspapers, versus \u003ca href=\"https://www.pewresearch.org/fact-tank/2018/12/10/social-media-outpaces-print-newspapers-in-the-u-s-as-a-news-source/\" target=\"_blank\" rel=\"noopener noreferrer\">16% of Americans\u003c/a>) leaves the British people concerned about tabloid bullying and violations in an ongoing manner.\u003c/p>\n\u003cp>There can be no doubt that Caroline Flack was shown little kindness by the U.K. press in the run-up to her death, and it’s clear that she read what was written about her. In late 2019, she posted both of these headlines (with her own comments) to her Instagram stories:\u003c/p>\n\u003cfigure id=\"attachment_13875084\" class=\"wp-caption alignnone\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png\" alt=\"Instagram/ @carolineflack\" width=\"683\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1-160x149.png 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Instagram/ @carolineflack\u003c/figcaption>\u003c/figure>\n\u003cp>We cannot know how much influence press scrutiny had on Flack’s decision to end her own life. There can be no doubt that her upcoming trial, as well as her uncertain future as the host of \u003cem>Love Island\u003c/em> were also factors in her demise. But it’s fair to assume that too much tabloid scrutiny can wreak havoc on people’s mental health, both famous and otherwise.\u003c/p>\n\u003cp>In his book \u003cem>So You’ve Been Publicly Shamed\u003c/em>, Jon Ronson writes: “I suppose that when shamings are delivered like remotely administered drone strikes nobody needs to think about how ferocious our collective power might be.” Later, he concludes: “And so … when you see an unfair or an ambiguous shaming unfold, speak up on behalf of the shamed person. A babble of opposing voices—that’s democracy.”\u003c/p>\n\u003cp>In the wake of Flack’s death, the British public is doing just that, repeating a mantra that she herself posted to Instagram back in December: Be kind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.instagram.com/p/B5tO1tRFbEI/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The publication under the most immediate scrutiny was \u003cem>The Sun\u003c/em>, a daily tabloid that has long been \u003ca href=\"https://en.wikipedia.org/wiki/The_Sun_(United_Kingdom)#Circulation\" target=\"_blank\" rel=\"noopener noreferrer\">the biggest-selling newspaper\u003c/a> in the U.K., despite a number of national scandals in which the outlet has been accused of \u003ca href=\"https://www.theguardian.com/media/2016/jul/28/katie-hopkins-migrants-ipso-sun-cockroaches\" target=\"_blank\" rel=\"noopener noreferrer\">xenophobia\u003c/a>, \u003ca href=\"https://www.theguardian.com/commentisfree/2012/sep/14/sun-page-3-visible-tip-misogynys-iceberg\" target=\"_blank\" rel=\"noopener noreferrer\">misogyny\u003c/a> and, most famously, \u003ca href=\"https://en.wikipedia.org/wiki/Hillsborough_disaster\" target=\"_blank\" rel=\"noopener noreferrer\">victim blaming\u003c/a>. When news of Flack’s death broke, \u003cem>The Sun\u003c/em> was quick to remove a recent\u003ca href=\"https://www.theguardian.com/media/2020/feb/15/the-sun-takes-down-article-about-caroline-flack-from-website\" target=\"_blank\" rel=\"noopener noreferrer\"> negative story\u003c/a> it had published about her.\u003c/p>\n\u003cp>The truth though, is that all of the U.K.’s daily tabloids had paid keen attention to Flack’s personal life throughout her career—in December, \u003cem>The Daily Mail\u003c/em> wrote a story about her “\u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-7789585/Inside-Caroline-Flacks-car-crash-love-life.html\" target=\"_blank\" rel=\"noopener noreferrer\">car crash love life\u003c/a>.” That kind of scrutiny first started with her controversial relationship with Harry Styles when he was 17 and she was 31, continued after a brief dalliance with Prince Harry (before he’d met Meghan Markle), and was ongoing at the time of her death thanks to the alleged assault of her boyfriend, Lewis Burton, who she was said to have struck with a lamp.\u003c/p>\n\u003cp>It’s worth noting that despite consistent negative coverage about her relationships, it’s hard to find anyone in Flack’s life with anything bad to say about her. Harry Styles arrived at Tuesday’s BRIT Awards wearing a black ribbon, and moved many with his \u003ca href=\"https://www.youtube.com/watch?v=JkgBUvgNeoM\" target=\"_blank\" rel=\"noopener noreferrer\">emotional performance\u003c/a> of “Falling.”\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/bFSFpHjsLY0'\n title='//www.youtube.com/embed/bFSFpHjsLY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only was Lewis Burton still in a relationship with Flack at the time of her death, he had withdrawn his complaint about the alleged assault (the charges were instead brought by Britain’s \u003ca href=\"https://www.lbc.co.uk/radio/presenters/andrew-castle/caroline-flack-charges-cps-prosecution/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Prosecution Service\u003c/a>) and publicly defended her in the midst of the controversy and imminent trial. After \u003cem>The Sun\u003c/em> published photos of a blood-soaked sheet purported to be from injuries Flack inflicted on Burton, he \u003ca href=\"https://www.the-sun.com/news/206179/gruesome-pic-of-scene-after-caroline-flacks-boyfriend-was-assaulted-shows-mostly-her-blood/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram\u003c/a>, “This isn’t my blood and I didn’t get hit over the head with a lamp. Can everyone stop now.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BBC Radio DJ and friend to Flack, Laura Whitmore, said on the air the day after her death: “I’m not going to pretend that she was perfect. But is anyone? She lived every mistake publicly under the scrutiny of the media … To the press, the newspapers who created clickbait, who demonize and tear down success, we’ve had enough.”\u003c/p>\n\u003cp>In the wake of Flack’s death, an online petition was quickly set up demanding the \u003ca href=\"https://you.38degrees.org.uk/petitions/flacks-law?bucket=email-blast-17_2_2020_carolines_law&source=twitter-share-button&utm_campaign=blast2020-02-17&utm_source=twitter&share=8890be77-fce2-4300-a78e-3394269360c9\" target=\"_blank\" rel=\"noopener noreferrer\">creation of a law\u003c/a> (specifically “Caroline’s Law”), “that would make it a criminal offense, not dissimilar to Corporate Manslaughter, for the British Media to knowingly and relentlessly bully a person, whether they be in the public eye or not, up to the point that they take their own life.” It had received over 737,000 signatures at the time of writing. (A further 218,000 people signed a petition asking for \u003ca href=\"https://www.change.org/p/secretary-of-state-for-digital-culture-media-and-sport-launch-government-inquiry-into-the-british-tabloids-following-death-of-caroline-flack?recruiter=1043035832&utm_source=share_petition&utm_medium=copylink&utm_campaign=share_petition&utm_term=petition_dashboard\" target=\"_blank\" rel=\"noopener noreferrer\">a government inquiry\u003c/a> into Flack’s death.)\u003c/p>\n\u003cp>Such suggestions may seem like an overreaction in America, but the U.K. has been struggling with \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">questions around press conduct\u003c/a> and intrusion since the death of Princess Diana in 1997. At that time there was speculation that not only did the press hound her literally to death, but that the British public’s outpouring of grief afterwards was somehow related to guilt over its own enthusiastic consumption of stories that violated her privacy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the years since, however, little has changed. Between 2005 and 2011, investigations by both the Press Complaints Commission and \u003cem>The Guardian\u003c/em> revealed that British newspapers, including \u003cem>News of the World\u003c/em>, \u003cem>The Daily Mirror\u003c/em> and \u003cem>The Sun—\u003c/em>all owned by Rupert Murdoch’s News International corporation—had indulged in police bribery and phone hacking. Victims of the latter included celebrities, royals, politicians and, worst of all, the families of high-profile murder and terrorism victims.\u003c/p>\n\u003cp>These revelations resulted in the closure of \u003cem>News of the World\u003c/em>, multiple arrests and hundreds of thousands of pounds in compensation payments. But the smallness of the U.K. (geographically, it’s almost half the size of California) in combination with the sheer power of its handful of daily newspapers (\u003ca href=\"https://www.ofcom.org.uk/__data/assets/pdf_file/0024/116529/news-consumption-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">40% of people\u003c/a> in the U.K. regularly read newspapers, versus \u003ca href=\"https://www.pewresearch.org/fact-tank/2018/12/10/social-media-outpaces-print-newspapers-in-the-u-s-as-a-news-source/\" target=\"_blank\" rel=\"noopener noreferrer\">16% of Americans\u003c/a>) leaves the British people concerned about tabloid bullying and violations in an ongoing manner.\u003c/p>\n\u003cp>There can be no doubt that Caroline Flack was shown little kindness by the U.K. press in the run-up to her death, and it’s clear that she read what was written about her. In late 2019, she posted both of these headlines (with her own comments) to her Instagram stories:\u003c/p>\n\u003cfigure id=\"attachment_13875084\" class=\"wp-caption alignnone\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png\" alt=\"Instagram/ @carolineflack\" width=\"683\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-18-at-3.39.33-PM-1-160x149.png 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Instagram/ @carolineflack\u003c/figcaption>\u003c/figure>\n\u003cp>We cannot know how much influence press scrutiny had on Flack’s decision to end her own life. There can be no doubt that her upcoming trial, as well as her uncertain future as the host of \u003cem>Love Island\u003c/em> were also factors in her demise. But it’s fair to assume that too much tabloid scrutiny can wreak havoc on people’s mental health, both famous and otherwise.\u003c/p>\n\u003cp>In his book \u003cem>So You’ve Been Publicly Shamed\u003c/em>, Jon Ronson writes: “I suppose that when shamings are delivered like remotely administered drone strikes nobody needs to think about how ferocious our collective power might be.” Later, he concludes: “And so … when you see an unfair or an ambiguous shaming unfold, speak up on behalf of the shamed person. A babble of opposing voices—that’s democracy.”\u003c/p>\n\u003cp>In the wake of Flack’s death, the British public is doing just that, repeating a mantra that she herself posted to Instagram back in December: Be kind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Slow Burn' Captures the Drip-Drip-Drip of Watergate",
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"content": "\u003cp>\u003cstrong>Slow Burn\u003c/strong>\u003cem>\u003cstrong> premiered Sunday February 16th on EPIX.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em> isn’t the first hit podcast to be adapted into a television series, and it won’t be the last. In this, the age of streams and verticals, of IPs and platform-agnosticism, we are about to be deluged with content that began life nestled in millions of earbuds.\u003c/p>\n\u003cp>That’s perfectly fine, of course—provided the act of adapting a series from one medium to another truly reckons with that prospect. What makes a great podcast great is wholly separate and distinct from what makes a television series great.\u003c/p>\n\u003cp>Podcasting is about intimacy—it’s a friendly voice inside your head, inviting you to imagine, to visualize, to create a story along with it. Television is about passivity—it’s an authoritative voice telling you—and thousands of others like you—to sit down, relax and absorb the story it’s showing you.\u003c/p>\n\u003cp>The podcast \u003cem>Slow Burn\u003c/em> revivifies history. It takes recent-ish events—Watergate, The Lewinsky Scandal, the Tupac vs. Biggie feud—and scours away the crust of collective knowledge that has already accreted around them. In its first “season,” for example, it invited you to imagine (or, for some listeners, clearly remember) what living through Watergate felt like, while it was slowly unfolding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The genius of the podcast, hosted by Leon Neyfakh, is how dedicated it is to making you feel the slowness of its burn. Historical events hover in our collective memory wrapped in oft-repeated received information: popular assumptions, tidy aphorisms and forced narratives. When we remember them, we remember them in shorthand—their outcomes, not their particulars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wMQYhtD3pKQ\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em>—podcast and TV show—is about the particulars. Again and again, host Neyfakh invites you to forget what you know about, say, Watergate, and fully imagine yourself as a participant who has no idea where a “third-rate burglary” that barely made the Metro page of the \u003cem>Washington Post \u003c/em>might lead.\u003c/p>\n\u003cp>Neyfakh loves focusing on figures who, as he notes, “played roles in the story that are larger than history remembers.” One episode, for example, focuses on how the death of FBI Chief J. Edgar Hoover, and the dogged determination of Congressman Wright Patman of the House Banking Committee, impacted the twists and turns of the scandal.\u003c/p>\n\u003cp>Familiar names—Howard Hunt, G. Gordon Liddy, Martha Mitchell—crop up, and figures like Howard Dean and (trigger warning) Roger Stone are among the roster of talking heads. (Reporters Leslie Stahl and Connie Chung are also featured; Chung, turns out, has a killer Nixon impression—or at least seems to, at first. Later on she does Walter Cronkite, and you realize it’s the same impression.) But there are plenty of people that won’t show up in textbooks or Wikipedia entries, like radio personality Mae Brussell, who tossed out an endless stream of conspiracy theories—but was among the first to insist on a connection between the Watergate break-in and the White House.\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em>‘s approach to the familiar story of Nixon’s downfall is engrossing, and it’s content to note certain affinities to current events—a President who inspires fierce, if at time puzzling, loyalty; a Congressional investigation stonewalled; a disinterested electorate—without insisting upon them.\u003c/p>\n\u003cp>Future podcasters looking to adapt their content to television would do well to follow \u003cem>Slow Burn\u003c/em>‘s clean and simple example—heavy on archival film, with only a modicum of self-conscious visual filigree. (There is a bit of it—puzzlingly artsy shots of rain on a windowpane, say, or a roiling ocean. It’s meant to echo and underscore the general mood, but it’s the kind of indulgent over-production that serves only to call attention to itself.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual element that the series returns to most often—an empty living room, decked out in \u003cem>I-Love-the-’70s\u003c/em> furnishings—seems odd at first. (\u003cem>What’s with all this burnt ochre, avacado gold and raw umber? \u003c/em>) But gradually, the more the series returns to that room and lets the camera crawl over that walnut coffee table, bookshelf and old-school FM radio dial, the easier it becomes to imagine yourself there, living through those events, catching snippets of news coverage as you go about your day.\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=%27Slow+Burn%27+Captures+The+Drip-Drip-Drip+Of+Watergate&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 genius of the podcast, hosted by Leon Neyfakh, is how dedicated it is to making you feel the slowness of its burn. Historical events hover in our collective memory wrapped in oft-repeated received information: popular assumptions, tidy aphorisms and forced narratives. When we remember them, we remember them in shorthand—their outcomes, not their particulars.\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/wMQYhtD3pKQ'\n title='//www.youtube.com/embed/wMQYhtD3pKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Slow Burn\u003c/em>—podcast and TV show—is about the particulars. Again and again, host Neyfakh invites you to forget what you know about, say, Watergate, and fully imagine yourself as a participant who has no idea where a “third-rate burglary” that barely made the Metro page of the \u003cem>Washington Post \u003c/em>might lead.\u003c/p>\n\u003cp>Neyfakh loves focusing on figures who, as he notes, “played roles in the story that are larger than history remembers.” One episode, for example, focuses on how the death of FBI Chief J. Edgar Hoover, and the dogged determination of Congressman Wright Patman of the House Banking Committee, impacted the twists and turns of the scandal.\u003c/p>\n\u003cp>Familiar names—Howard Hunt, G. Gordon Liddy, Martha Mitchell—crop up, and figures like Howard Dean and (trigger warning) Roger Stone are among the roster of talking heads. (Reporters Leslie Stahl and Connie Chung are also featured; Chung, turns out, has a killer Nixon impression—or at least seems to, at first. Later on she does Walter Cronkite, and you realize it’s the same impression.) But there are plenty of people that won’t show up in textbooks or Wikipedia entries, like radio personality Mae Brussell, who tossed out an endless stream of conspiracy theories—but was among the first to insist on a connection between the Watergate break-in and the White House.\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em>‘s approach to the familiar story of Nixon’s downfall is engrossing, and it’s content to note certain affinities to current events—a President who inspires fierce, if at time puzzling, loyalty; a Congressional investigation stonewalled; a disinterested electorate—without insisting upon them.\u003c/p>\n\u003cp>Future podcasters looking to adapt their content to television would do well to follow \u003cem>Slow Burn\u003c/em>‘s clean and simple example—heavy on archival film, with only a modicum of self-conscious visual filigree. (There is a bit of it—puzzlingly artsy shots of rain on a windowpane, say, or a roiling ocean. It’s meant to echo and underscore the general mood, but it’s the kind of indulgent over-production that serves only to call attention to itself.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual element that the series returns to most often—an empty living room, decked out in \u003cem>I-Love-the-’70s\u003c/em> furnishings—seems odd at first. (\u003cem>What’s with all this burnt ochre, avacado gold and raw umber? \u003c/em>) But gradually, the more the series returns to that room and lets the camera crawl over that walnut coffee table, bookshelf and old-school FM radio dial, the easier it becomes to imagine yourself there, living through those events, catching snippets of news coverage as you go about your day.\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=%27Slow+Burn%27+Captures+The+Drip-Drip-Drip+Of+Watergate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Tracks Bezos' 'Rise and Reign' and How Amazon Became 'Inescapable'",
"headTitle": "Filmmaker Tracks Bezos’ ‘Rise and Reign’ and How Amazon Became ‘Inescapable’ | KQED",
"content": "\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXzDXsXKjFk\u003c/p>\n\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Director James Jacoby catalogs the reach of the tech giant in his new PBS FRONTLINE documentary, 'Amazon Empire.' \"So much power is pooled into the hands of one company and one man,\" he says.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\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/DXzDXsXKjFk'\n title='//www.youtube.com/embed/DXzDXsXKjFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At The Oscars, 'Parasite' Makes Best Picture History",
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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://fridababy.com/collections/mom\" target=\"_blank\" rel=\"noopener noreferrer\">Frida\u003c/a>, a mother and baby retailer, released a commercial this week in support of its range of postpartum recovery products. In the one-minute ad, a new mom is seen struggling to walk, use the bathroom and deal with cumbersome pads. Frida says it released the commercial on YouTube because the ABC network refused to air it during Sunday’s Oscars. “It’s just a new mom,” the new intro to the ad states, “home with her baby and her new body for the first time. Yet it was rejected.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3GePXGfRP04&feature=emb_logo\u003c/p>\n\u003cp>The clip is an unflinching look at what new mothers physically cope with in the days and weeks following vaginal birth—something that remains taboo in American media. While television and movies have become more honest in recent decades about the realities of \u003ca href=\"https://www.pbs.org/call-the-midwife/home/\" target=\"_blank\" rel=\"noopener noreferrer\">birth\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/106974/a-brief-history-of-terrible-menstruation-education-videos\" target=\"_blank\" rel=\"noopener noreferrer\">menstruation\u003c/a> and \u003ca href=\"https://filmdaily.co/obsessions/postpartum-depression-tv-and-movies/\" target=\"_blank\" rel=\"noopener noreferrer\">postpartum depression\u003c/a>, the physically messy and painful aftermath of childbirth remains absent from our screens.\u003c/p>\n\u003cp>[aside postid='arts_13912860']We caught up with seven moms to find out how they feel about the Frida Mom commercial, as well as ABC’s decision. They had a lot to say.\u003c/p>\n\u003cp>\u003cstrong>Renee Pickup, mother of one\u003c/strong>\u003cbr>\n“I think for the most part we don’t show this stuff because we want to exalt motherhood and the newborn time as this super positive, beautiful thing—without realizing how disenfranchising and dehumanizing that is for women. We’re not supposed to matter—not even to ourselves. We pretend it’s all beautiful, and not painful or lonely. Motherhood as martyrhood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Stephanie Reeder, brand new mom\u003c/strong>\u003cbr>\n“I’m pissed that they would ban this ad because the recovery is never talked about and it’s been the very worst part for me. The ad is totally accurate. Not only are you exhausted and sleep-deprived, but the pain is unreal—every bone and muscle in your whole body is trashed. Then the stinging of pee and the absolute terror of trying to poop—which is still an issue for me, five weeks postpartum, by the way. Honestly, once baby is here, no one really cares about what mom is going through. No one wants to talk about the nitty gritty of childbirth. It’s always been that way. This ad wasn’t refused airtime because of nudity, it was refused broadcast because of patriarchal ideas of what women should look like.”\u003c/p>\n\u003cp>\u003cstrong>Rhiannon, mother of three kids under 4\u003c/strong>\u003cbr>\n“Wow. That ad actually made me feel happy-sad! Just the rawness and honesty! I totally felt like that lady looks after birth. I couldn’t close my legs as I walked, so I shared her waddle. I bled \u003cem>a lot\u003c/em>. I’m guessing she has hemorrhoids too. All I had were maternity pads and big [panties]. I thought I was ruined down there forever because it’s not something people talk about. I haven’t seen or heard of these products she’s using, which is probably because the adverts are banned and nobody talks about this! It’s certainly not sexy, but I don’t really understand why they’d stop someone from advertising these products. Probably because it makes men feel uncomfortable? It’s ridiculous. I suppose a network might think it would make its viewers uncomfortable and that might affect its ratings. But it wouldn’t make me feel that way—I find it strangely comforting.”\u003c/p>\n\u003cp>\u003cstrong>Rachel Eling, mother of two\u003c/strong>\u003cbr>\n[aside postid='arts_13915669']“In the first few days, going to the [bathroom] is terrifying. If you have stitches, or a small tear that’s left to heal naturally, or even if things are just a bit—I don’t know—\u003cem>sore\u003c/em> because you just passed an eight-pound person through a very small passage, urinating feels like pouring acid on an open wound. Because essentially you’re pouring acid on an open wound! \u003cem>And\u003c/em> you’re bleeding heavily for at least 6 weeks. Motherhood on screen is either dysfunctional and abusive, or nurturing and idyllic. On film—mainstream film and TV anyway—women’s bodies are for sex, looking at and for killing. When Margot Robbie gets an Oscar nom for a film where she barely has any lines, we know that a woman’s body is the most important thing about her—and that body had better not be leaking. Of course this isn’t for Hollywood!”\u003c/p>\n\u003cp>\u003cstrong>Alexis Brooks, mother of one\u003c/strong>\u003cbr>\n“That ad is \u003cem>super\u003c/em> accurate. I still have those mesh panties! I also bought Depends, based on recommendations. I have no idea why this ad would be refused airtime, other than the fact that she doesn’t look perfect. American society is obsessed with sex but entirely unwilling to see a version of a woman in a minor state of undress that doesn’t fit with what is broadly considered attractive. This amount of nudity is only considered vulgar if the woman doesn’t look the way we want her to.”\u003c/p>\n\u003cp>\u003cstrong>Rachel Roberts, mother of one.\u003c/strong>\u003cbr>\n“This is very realistic—the stitches and the feeling that your insides are about to drop right out through your vagina at any point. No one tells you about it. After birth, the nurse made me go and have a bath and I felt like I was going to die. I was just lying in this hospital bath bleeding, without my baby and terrified. Nothing can prepare you for that feeling of being scared to walk because of the pain, and the amount of blood loss. The truth is, it’s actually really f–king messy and not cute in any way. I think it isn’t put out there because it ruins the ‘romantic’ newborn baby thing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Lucy Walters, mother of two.\u003c/strong>\u003cbr>\n“I related to all of that clip. Honestly you can go to all the midwife appointments, and all the anti-natal classes, yet no one tells you how awful it is afterwards. Not to mention that first pee after having a baby. You’re there trying to work it out, thinking ‘Maybe it will be easier if I sit this way, or aim this way?’ Or the fact that everyone acts like your vagina might be a bit sore, but the reality is that even sitting up in bed is a challenge. This ad is great because it actually shows people the reality: ‘This is how you will feel, but there are things that will help. You’re going to feel ruined, but don’t worry, it’s normal.’ We need that because when it happens to you the first time, you don’t think it is. We deserve the honesty of seeing what it’s really like before we have to do it.”\u003c/p>\n\n",
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"excerpt": "Frida Mom claims that ABC refused to air their ad for postpartum products during the Academy Awards. We caught up with seven moms who had something to say about it. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://fridababy.com/collections/mom\" target=\"_blank\" rel=\"noopener noreferrer\">Frida\u003c/a>, a mother and baby retailer, released a commercial this week in support of its range of postpartum recovery products. In the one-minute ad, a new mom is seen struggling to walk, use the bathroom and deal with cumbersome pads. Frida says it released the commercial on YouTube because the ABC network refused to air it during Sunday’s Oscars. “It’s just a new mom,” the new intro to the ad states, “home with her baby and her new body for the first time. Yet it was rejected.”\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/3GePXGfRP04'\n title='//www.youtube.com/embed/3GePXGfRP04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The clip is an unflinching look at what new mothers physically cope with in the days and weeks following vaginal birth—something that remains taboo in American media. While television and movies have become more honest in recent decades about the realities of \u003ca href=\"https://www.pbs.org/call-the-midwife/home/\" target=\"_blank\" rel=\"noopener noreferrer\">birth\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/106974/a-brief-history-of-terrible-menstruation-education-videos\" target=\"_blank\" rel=\"noopener noreferrer\">menstruation\u003c/a> and \u003ca href=\"https://filmdaily.co/obsessions/postpartum-depression-tv-and-movies/\" target=\"_blank\" rel=\"noopener noreferrer\">postpartum depression\u003c/a>, the physically messy and painful aftermath of childbirth remains absent from our screens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stephanie Reeder, brand new mom\u003c/strong>\u003cbr>\n“I’m pissed that they would ban this ad because the recovery is never talked about and it’s been the very worst part for me. The ad is totally accurate. Not only are you exhausted and sleep-deprived, but the pain is unreal—every bone and muscle in your whole body is trashed. Then the stinging of pee and the absolute terror of trying to poop—which is still an issue for me, five weeks postpartum, by the way. Honestly, once baby is here, no one really cares about what mom is going through. No one wants to talk about the nitty gritty of childbirth. It’s always been that way. This ad wasn’t refused airtime because of nudity, it was refused broadcast because of patriarchal ideas of what women should look like.”\u003c/p>\n\u003cp>\u003cstrong>Rhiannon, mother of three kids under 4\u003c/strong>\u003cbr>\n“Wow. That ad actually made me feel happy-sad! Just the rawness and honesty! I totally felt like that lady looks after birth. I couldn’t close my legs as I walked, so I shared her waddle. I bled \u003cem>a lot\u003c/em>. I’m guessing she has hemorrhoids too. All I had were maternity pads and big [panties]. I thought I was ruined down there forever because it’s not something people talk about. I haven’t seen or heard of these products she’s using, which is probably because the adverts are banned and nobody talks about this! It’s certainly not sexy, but I don’t really understand why they’d stop someone from advertising these products. Probably because it makes men feel uncomfortable? It’s ridiculous. I suppose a network might think it would make its viewers uncomfortable and that might affect its ratings. But it wouldn’t make me feel that way—I find it strangely comforting.”\u003c/p>\n\u003cp>\u003cstrong>Rachel Eling, mother of two\u003c/strong>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In the first few days, going to the [bathroom] is terrifying. If you have stitches, or a small tear that’s left to heal naturally, or even if things are just a bit—I don’t know—\u003cem>sore\u003c/em> because you just passed an eight-pound person through a very small passage, urinating feels like pouring acid on an open wound. Because essentially you’re pouring acid on an open wound! \u003cem>And\u003c/em> you’re bleeding heavily for at least 6 weeks. Motherhood on screen is either dysfunctional and abusive, or nurturing and idyllic. On film—mainstream film and TV anyway—women’s bodies are for sex, looking at and for killing. When Margot Robbie gets an Oscar nom for a film where she barely has any lines, we know that a woman’s body is the most important thing about her—and that body had better not be leaking. Of course this isn’t for Hollywood!”\u003c/p>\n\u003cp>\u003cstrong>Alexis Brooks, mother of one\u003c/strong>\u003cbr>\n“That ad is \u003cem>super\u003c/em> accurate. I still have those mesh panties! I also bought Depends, based on recommendations. I have no idea why this ad would be refused airtime, other than the fact that she doesn’t look perfect. American society is obsessed with sex but entirely unwilling to see a version of a woman in a minor state of undress that doesn’t fit with what is broadly considered attractive. This amount of nudity is only considered vulgar if the woman doesn’t look the way we want her to.”\u003c/p>\n\u003cp>\u003cstrong>Rachel Roberts, mother of one.\u003c/strong>\u003cbr>\n“This is very realistic—the stitches and the feeling that your insides are about to drop right out through your vagina at any point. No one tells you about it. After birth, the nurse made me go and have a bath and I felt like I was going to die. I was just lying in this hospital bath bleeding, without my baby and terrified. Nothing can prepare you for that feeling of being scared to walk because of the pain, and the amount of blood loss. The truth is, it’s actually really f–king messy and not cute in any way. I think it isn’t put out there because it ruins the ‘romantic’ newborn baby thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kK2ZGOsbeqo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. [aside postid='arts_13873021']\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kK2ZGOsbeqo'\n title='//www.youtube.com/embed/kK2ZGOsbeqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Biggest Loser' is Back—and Atrocious as Ever",
"headTitle": "The ‘Biggest Loser’ is Back—and Atrocious as Ever | KQED",
"content": "\u003cp>Everything you need to know about\u003cem> The Biggest Loser\u003c/em> is right there in the way that it disappeared from screens in 2016.\u003c/p>\n\u003cp>NBC didn’t officially cancel the reality competition. Rather, the network allowed the show to quietly slink away under a dark cloud of controversy. So it’s both astonishing and disappointing that, last week, \u003cem>The Biggest Loser\u003c/em> returned to television—albeit on a smaller channel (the USA Network, owned by NBC) and with significantly less fanfare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qaGSxaNQoIU\u003c/p>\n\u003cp>In its original 17 seasons, the show—a reality competition in which plus-sized people competed to lose the most weight—was deeply problematic. The demonization of fat and canonization of skinny was initially the most glaring issue. (Let’s not forget that people in the BMI \u003ca href=\"https://www.webmd.com/diet/news/20090625/study-overweight-people-live-longer#1\" target=\"_blank\" rel=\"noopener noreferrer\">“overweight” category actually live longer\u003c/a> than people in both the “normal” and “underweight” ones.) The show’s penchant for routinely humiliating contestants didn’t help matters. And later, damning testimonies from prior participants totally undercut \u003cem>The Biggest Loser\u003c/em>‘s insistence that it was all about good health.\u003c/p>\n\u003cp>In 2007, a Season 3 contestant said she had shed pounds by \u003ca href=\"https://www.nytimes.com/2007/10/18/fashion/18Loser.html?_r=1&oref=slogin\" target=\"_blank\" rel=\"noopener noreferrer\">consciously dehydrating herself\u003c/a> to a dangerous degree, and in 2009, the winner of Season 1 confessed to doing the same thing. Ryan Benson told \u003cem>\u003ca href=\"https://www.nytimes.com/2009/11/25/business/media/25loser.html?pagewanted=all&_r=2&\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a>\u003c/em> that extreme fasting made him so unwell that, by his finale, he was urinating blood. He has since gained almost all of the weight back—an incredibly \u003ca href=\"https://www.nytimes.com/2016/05/02/health/biggest-loser-weight-loss.html?WT.mc_ev=click&WT.mc_id=NYT-E-I-NYT-E-AT-050516-L2&=&=&em_pos=medium&emc=edit_el_20160505&nl=el&nl=at-times&nl_art=0&nlid=16129359&ref=headline&te=1\" target=\"_blank\" rel=\"noopener noreferrer\">common occurrence\u003c/a> for ex-contestants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there were three major death knells that finished \u003cem>The Biggest Loser\u003c/em>‘s original incarnation. One was the controversial 155 pound weight loss that left Season 15 winner Rachel Frederickson looking \u003ca href=\"https://www.youtube.com/watch?v=jihelvZxa7E\" target=\"_blank\" rel=\"noopener noreferrer\">extremely thin\u003c/a> to a point that visibly shocked even renowned \u003ca href=\"https://www.washingtonpost.com/nation/2020/01/09/jillian-michaels-lizzo-fat-shaming/\" target=\"_blank\" rel=\"noopener noreferrer\">fat-shamer\u003c/a> Jillian Michaels. The second was a 2016 study that proved that competing on the show slowed down contestants’ \u003ca href=\"https://onlinelibrary.wiley.com/doi/full/10.1002/oby.21538\" target=\"_blank\" rel=\"noopener noreferrer\">metabolisms\u003c/a> so much that it was nearly impossible to keep the weight off. The third was an \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/nbc-undertook-investigation-biggest-loser-contestants-were-supplied-drugs-1128067\" target=\"_blank\" rel=\"noopener noreferrer\">internal investigation NBC\u003c/a> had to conduct after contestants told the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> they had been given FDA-banned diet pills while on the show.\u003c/p>\n\u003cp>Throwing \u003cem>The Biggest Loser\u003c/em> back on TV at this particular cultural moment—one in which a new wave of body positivity seems to actually be gaining some mainstream traction—doesn’t just feel like a step backwards. It feels like a conscious attack. Its return came less than a week after Lizzo and her ballet-dancing \u003ca href=\"https://www.instagram.com/thebiggrrrls/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Big Grrrls\u003c/a> proved on the Grammys stage that being plus-size and fit aren’t mutually exclusive. And it premiered the same week that the second season of \u003ca href=\"https://www.youtube.com/watch?v=KkjStfMAtLI\" target=\"_blank\" rel=\"noopener noreferrer\">Aidy Bryant’s \u003cem>Shrill\u003c/em>\u003c/a>—a show based on the radical notion that fat people are outgoing, successful, sexually desirable people—hit Hulu.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PFlvxnou9UQ\u003c/p>\n\u003cp>And while \u003cem>The Biggest Loser\u003c/em>‘s new marketing strategy promises a show about “overall well-being,” not just thinness, almost nothing has changed. The grand prize ($100,000 now, instead of the $250,000 of old) still goes to “the one who loses the most,” and, glaringly, Bob Harper is still the host. This despite a 2016 report in the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> that suggested he facilitated diet pill use.\u003c/p>\n\u003cp>The humiliation of already self-conscious people continues to be a central theme. When not being filmed vomiting into buckets in the gym, contestants are forced to take their shirts off before they’re publicly weighed at the end of each episode. To make matters worse, their shame continues to be exploited in an attempt to give the show emotional depth. In the first new episode, Katarina, Kristi, Kim and Teri all cry on the scales; Jim looks despairing and says he’s “mad”; and Micah describes his shirtless weigh-in as “one of my biggest fears because I hate the way my body looks.”\u003c/p>\n\u003cp>And just like \u003cem>The Biggest Loser\u003c/em> of old, the new show works extraordinarily hard to portray plus-size people as sad husks of humanity, unable to achieve their dreams, inherently undeserving of love and probably on the verge of death—and it frequently uses contestants’ own words to do it. Phi, an already attractive and stylish 36-year-old counsellor says, “As long as you help me get sexy, I’m here for it.” Terri, a 47-year-old flight nurse—meaning she rescues people in a helicopter for a living—says: “I’m at that stage in my life where I either make the dreams happen, or let them go—and I’m not ready to let them go yet.”\u003c/p>\n\u003cp>When the new\u003cem> Biggest Loser\u003c/em> does attempt changes, they’re minor to the point of tokenism. At one point, Harper sits the contestants down on couches and promises to “give them a place just to get together and talk,” only to instead terrify them all with test results that tell them how likely they are “to die of an obesity-related complication.” (No word on how many years into the future those deaths may occur, so most contestants assume it’s imminent and cry accordingly.)\u003c/p>\n\u003cp>There has also been a shift with the coaches, most notably with red team coach Erica Lugo, a single mom who lost 160 pounds after the birth of her son. First impressions paint her as both likable and sympathetic. “I wanna change the way that others think about those that struggle with their weight,” she says. “Lazy, fat, gross—I know those words were thought about me at one point. These people are none of those words.”\u003c/p>\n\u003cp>An attempt to make blue team coach Steve Cook—whose entire career has been spent in the sports and fitness industries—more sympathetic with a confession of binge-eating between photoshoots is far less successful.\u003c/p>\n\u003cp>And the new coaches continue to peddle the idea that fat equals sick. At various points, Cook says the show will “literally save your life.” In the gym, Lugo asks the oldest contestant there, “If we don’t do this now, where are we going to end up?” He responds dutifully: “Dead.” This messaging works: at one point Phi despairs, “I don’t want to die prematurely because I ate my life away.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Pinning health and weight loss to one another with so little nuance doesn’t just peddle falsehoods that are already overly ingrained in society, it enables fatphobia. That the show is continuing with the same-old, same-old—even after so many holes were picked in its ideas and methodology the first time around—speaks volumes about how much America is still willing to otherize plus-sized people. Let’s just hope it slinks back into the darkness a lot sooner than it did the first time around.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everything you need to know about\u003cem> The Biggest Loser\u003c/em> is right there in the way that it disappeared from screens in 2016.\u003c/p>\n\u003cp>NBC didn’t officially cancel the reality competition. Rather, the network allowed the show to quietly slink away under a dark cloud of controversy. So it’s both astonishing and disappointing that, last week, \u003cem>The Biggest Loser\u003c/em> returned to television—albeit on a smaller channel (the USA Network, owned by NBC) and with significantly less fanfare.\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/qaGSxaNQoIU'\n title='//www.youtube.com/embed/qaGSxaNQoIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its original 17 seasons, the show—a reality competition in which plus-sized people competed to lose the most weight—was deeply problematic. The demonization of fat and canonization of skinny was initially the most glaring issue. (Let’s not forget that people in the BMI \u003ca href=\"https://www.webmd.com/diet/news/20090625/study-overweight-people-live-longer#1\" target=\"_blank\" rel=\"noopener noreferrer\">“overweight” category actually live longer\u003c/a> than people in both the “normal” and “underweight” ones.) The show’s penchant for routinely humiliating contestants didn’t help matters. And later, damning testimonies from prior participants totally undercut \u003cem>The Biggest Loser\u003c/em>‘s insistence that it was all about good health.\u003c/p>\n\u003cp>In 2007, a Season 3 contestant said she had shed pounds by \u003ca href=\"https://www.nytimes.com/2007/10/18/fashion/18Loser.html?_r=1&oref=slogin\" target=\"_blank\" rel=\"noopener noreferrer\">consciously dehydrating herself\u003c/a> to a dangerous degree, and in 2009, the winner of Season 1 confessed to doing the same thing. Ryan Benson told \u003cem>\u003ca href=\"https://www.nytimes.com/2009/11/25/business/media/25loser.html?pagewanted=all&_r=2&\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a>\u003c/em> that extreme fasting made him so unwell that, by his finale, he was urinating blood. He has since gained almost all of the weight back—an incredibly \u003ca href=\"https://www.nytimes.com/2016/05/02/health/biggest-loser-weight-loss.html?WT.mc_ev=click&WT.mc_id=NYT-E-I-NYT-E-AT-050516-L2&=&=&em_pos=medium&emc=edit_el_20160505&nl=el&nl=at-times&nl_art=0&nlid=16129359&ref=headline&te=1\" target=\"_blank\" rel=\"noopener noreferrer\">common occurrence\u003c/a> for ex-contestants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there were three major death knells that finished \u003cem>The Biggest Loser\u003c/em>‘s original incarnation. One was the controversial 155 pound weight loss that left Season 15 winner Rachel Frederickson looking \u003ca href=\"https://www.youtube.com/watch?v=jihelvZxa7E\" target=\"_blank\" rel=\"noopener noreferrer\">extremely thin\u003c/a> to a point that visibly shocked even renowned \u003ca href=\"https://www.washingtonpost.com/nation/2020/01/09/jillian-michaels-lizzo-fat-shaming/\" target=\"_blank\" rel=\"noopener noreferrer\">fat-shamer\u003c/a> Jillian Michaels. The second was a 2016 study that proved that competing on the show slowed down contestants’ \u003ca href=\"https://onlinelibrary.wiley.com/doi/full/10.1002/oby.21538\" target=\"_blank\" rel=\"noopener noreferrer\">metabolisms\u003c/a> so much that it was nearly impossible to keep the weight off. The third was an \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/nbc-undertook-investigation-biggest-loser-contestants-were-supplied-drugs-1128067\" target=\"_blank\" rel=\"noopener noreferrer\">internal investigation NBC\u003c/a> had to conduct after contestants told the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> they had been given FDA-banned diet pills while on the show.\u003c/p>\n\u003cp>Throwing \u003cem>The Biggest Loser\u003c/em> back on TV at this particular cultural moment—one in which a new wave of body positivity seems to actually be gaining some mainstream traction—doesn’t just feel like a step backwards. It feels like a conscious attack. Its return came less than a week after Lizzo and her ballet-dancing \u003ca href=\"https://www.instagram.com/thebiggrrrls/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Big Grrrls\u003c/a> proved on the Grammys stage that being plus-size and fit aren’t mutually exclusive. And it premiered the same week that the second season of \u003ca href=\"https://www.youtube.com/watch?v=KkjStfMAtLI\" target=\"_blank\" rel=\"noopener noreferrer\">Aidy Bryant’s \u003cem>Shrill\u003c/em>\u003c/a>—a show based on the radical notion that fat people are outgoing, successful, sexually desirable people—hit Hulu.\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/PFlvxnou9UQ'\n title='//www.youtube.com/embed/PFlvxnou9UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while \u003cem>The Biggest Loser\u003c/em>‘s new marketing strategy promises a show about “overall well-being,” not just thinness, almost nothing has changed. The grand prize ($100,000 now, instead of the $250,000 of old) still goes to “the one who loses the most,” and, glaringly, Bob Harper is still the host. This despite a 2016 report in the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> that suggested he facilitated diet pill use.\u003c/p>\n\u003cp>The humiliation of already self-conscious people continues to be a central theme. When not being filmed vomiting into buckets in the gym, contestants are forced to take their shirts off before they’re publicly weighed at the end of each episode. To make matters worse, their shame continues to be exploited in an attempt to give the show emotional depth. In the first new episode, Katarina, Kristi, Kim and Teri all cry on the scales; Jim looks despairing and says he’s “mad”; and Micah describes his shirtless weigh-in as “one of my biggest fears because I hate the way my body looks.”\u003c/p>\n\u003cp>And just like \u003cem>The Biggest Loser\u003c/em> of old, the new show works extraordinarily hard to portray plus-size people as sad husks of humanity, unable to achieve their dreams, inherently undeserving of love and probably on the verge of death—and it frequently uses contestants’ own words to do it. Phi, an already attractive and stylish 36-year-old counsellor says, “As long as you help me get sexy, I’m here for it.” Terri, a 47-year-old flight nurse—meaning she rescues people in a helicopter for a living—says: “I’m at that stage in my life where I either make the dreams happen, or let them go—and I’m not ready to let them go yet.”\u003c/p>\n\u003cp>When the new\u003cem> Biggest Loser\u003c/em> does attempt changes, they’re minor to the point of tokenism. At one point, Harper sits the contestants down on couches and promises to “give them a place just to get together and talk,” only to instead terrify them all with test results that tell them how likely they are “to die of an obesity-related complication.” (No word on how many years into the future those deaths may occur, so most contestants assume it’s imminent and cry accordingly.)\u003c/p>\n\u003cp>There has also been a shift with the coaches, most notably with red team coach Erica Lugo, a single mom who lost 160 pounds after the birth of her son. First impressions paint her as both likable and sympathetic. “I wanna change the way that others think about those that struggle with their weight,” she says. “Lazy, fat, gross—I know those words were thought about me at one point. These people are none of those words.”\u003c/p>\n\u003cp>An attempt to make blue team coach Steve Cook—whose entire career has been spent in the sports and fitness industries—more sympathetic with a confession of binge-eating between photoshoots is far less successful.\u003c/p>\n\u003cp>And the new coaches continue to peddle the idea that fat equals sick. At various points, Cook says the show will “literally save your life.” In the gym, Lugo asks the oldest contestant there, “If we don’t do this now, where are we going to end up?” He responds dutifully: “Dead.” This messaging works: at one point Phi despairs, “I don’t want to die prematurely because I ate my life away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pinning health and weight loss to one another with so little nuance doesn’t just peddle falsehoods that are already overly ingrained in society, it enables fatphobia. That the show is continuing with the same-old, same-old—even after so many holes were picked in its ideas and methodology the first time around—speaks volumes about how much America is still willing to otherize plus-sized people. Let’s just hope it slinks back into the darkness a lot sooner than it did the first time around.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Goodbye to 'The Good Place'",
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"content": "\u003cp>Endings are sad, but without them, nothing matters.\u003c/p>\n\u003cp>That was only one of the lessons of the thoughtful, emotional finale of NBC’s \u003cem>The Good Place\u003c/em>, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It’s leaving at the right time, when you’ve done your work. When you’re ready.\u003c/p>\n\u003cp>Creator Michael Schur, who also was behind \u003cem>Parks & Recreation\u003c/em>, has a kind of grudging, aggravated optimism that echoes in a lot of his work. \u003cem>The Good Place \u003c/em>was full of reminders of how petty and nasty people can be when they’re not specifically trying to discipline their worst instincts. It was also emphatic about the fact that it’s almost impossible to successfully weave your way through the complicated world of trying to be decent, given the way our current systems of commerce and government work. Similarly, the people we knew in Pawnee, Ind., were constantly besieged by smallness and disappointment—remember how Leslie Knope’s beautiful dream of elected office ended the first time.\u003c/p>\n\u003cp>But \u003cem>The Good Place\u003c/em>, like \u003cem>Parks\u003c/em>, became a show about the fact that even given those setbacks and disappointments, people can be good, can do good, can grant each other grace. And more than \u003cem>Parks\u003c/em>, \u003cem>The Good Place \u003c/em>became a playfully direct and explicit exploration of that idea.\u003c/p>\n\u003cp>Earlier on, the show was more about Eleanor, a self-proclaimed dirtbag in life trying in the afterlife to become good through concerted effort, with the help of her friends: Chidi, her teacher; Tahani, her nemesis-turned-friend; Jason, the Floridian dingdong DJ she adored; Janet, who is not a girl \u003cem>or \u003c/em>a robot; and Michael, her tormentor-turned-ally. She learned to sacrifice, to tell the truth, to be better, to persevere. And she became a leader. She learned to step in when no one knew what to do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This season, though—especially the last few episodes—seemed less about learning what it means to be good, which all of our friends on the show already were, and more about accepting what it means to be human. Longstanding notions of heaven, on which Schur and his extraordinary writers were riffing throughout the series, have a very particular weirdness to them that I think was ultimately too much for that limited, humanist, often frustrated optimism to swallow: that paradise is doing whatever you want, forever. [aside postid='pop_105436']\u003c/p>\n\u003cp>One problem with a traditional heaven (pardon me while I critique ancient notions of the afterlife; it’s that kind of television show) is that while it works well as a reward, as a carrot to dangle as the payoff for being good while on earth, it is so far removed from human experience that it doesn’t say very much about humanity. It’s a very flat, all-the-flavors-of-ice-cream, I-want-a-pony notion of heaven. But when we long for happiness on earth, is it for that? Is it because we want all the flavors of ice cream and a pony? Doing whatever we want forever?\u003c/p>\n\u003cp>In the penultimate episode, “Patty,” the group reached the real Good Place, where they learned that, indeed, it’s fun to do whatever you want. But they also learned that a frictionless existence is meaningless. They learned, as the show explicitly stated in the finale via a cameo from the philosophy professor Todd May, that mortality gives meaning to human life, so some kind of ending is necessary to make even the afterlife a place of true happiness. To be human is to know you are not forever; to know you are forever is to lose your humanity. Thus, Eleanor and friends developed a system in which even people in heaven could decide that the time had come for it to be over. Again: Heaven is not never leaving; it’s leaving at the right time, when the work is done.\u003c/p>\n\u003cp>Jason was the first to realize, after playing a perfect game of \u003cem>Madden\u003c/em> with his father, Donkey Doug, that he was ready to go. He said goodbye to Janet, coming to terms with the deeply relatable fear that he’d be forgotten, and he went into the redwoods where the show put its last door. And then, in true Jason fashion, he just kind of hung around, chilling, waiting for one last chance to see Janet. Like a monk, she pointed out. He didn’t get it.\u003c/p>\n\u003cp>Tahani went a different direction. Like the party planner she always was, Tahani decided to become an architect, designing entire afterlives in her peacock bow tie. She likes to plan, she likes to design, she likes to do for others—and now, she figured out how to do it from a place of generosity (as well as, sure, a desire to continue to get credit for her great ideas; she’s only post-human, after all).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Bnq6IRgt4yE&t=16s\u003c/p>\n\u003cp>And then Chidi. Eleanor’s selfishness was now translated through love, and she tried to tempt him to stay with trips to Athens and Paris, asking him over and over to tell her all about philosophy again. He was willing to stay for her, but inevitably, because he had taught her well, she realized—and explained very clearly, in specific language of moral philosophy—that this was selfish of her, and that she had to let him go. So she did.\u003c/p>\n\u003cp>If there was a part of the finale I didn’t quite think resonated, it was the visit to Mindy St. Claire to persuade her to go through the system and attempt to qualify for the Good Place. I’ve always found the idea of the Medium Place very funny, and Maribeth Monroe is always marvelous in the role. But here, the idea that this was part of Eleanor’s final work that needed to be done didn’t \u003cem>quite \u003c/em>seem of a piece with the rest of the finale, even if her explanation that Mindy was the person she might have been if she hadn’t met her friends was very sweet.\u003c/p>\n\u003cp>What did seem spot-on was that Eleanor couldn’t leave until she saw to Michael. One of the show’s best swerves has been its reversal of the relationship between Michael and Eleanor from one where he was like a benevolent father to one where he is more like her well-meaning but disoriented teenage son. And Michael had the same problem that all of Eleanor’s friends had in the afterlife when they first got to the Good Place: he had no end in sight. He wasn’t even able to walk through the door, as he learned in the finale’s funniest sequence, in which Michael discovered that he didn’t disappear after passing through, even if he tried to hide behind a tree to make it seem like he did. (If all this show had done was bring out this dopey, broad part of Ted Danson’s comedic talent, it would have been worth it.)\u003c/p>\n\u003cp>No, Michael needed a chance to be human. Human, with all the annoyances and limitations and—this was perhaps what was stressed the most—uncertainty that humanity brings. And, granted his humanity, he delighted in burning his hands on a microwave dinner and playing with his giant dog (named Jason) and all the dumb, ordinary things he had never gotten to experience.\u003c/p>\n\u003cp>And then Eleanor could pass through the door, completing the journey she took when she died after being hit by some grocery carts … and then a truck. She began as a fraud, or so she believed, and ended up saving the world. She learned humanity from a bunch of very flawed people, none of whom understood it perfectly themselves.\u003c/p>\n\u003cp>What a weird, often extremely goofy, ultimately very profound 52 episodes those were. Not everything worked: I don’t think the new humans introduced this season as test cases ever clicked at all, despite good performances from the actors. At times, the systems of demons and trains and places and tests became so convoluted that I gave up, and I still probably couldn’t ace a test on exactly what happened in some of those systems.\u003c/p>\n\u003cp>But I understood its final philosophical stance perfectly. Fragility and preciousness are not paired out of some regrettable irony; they are reliant on each other. It’s because we know our time with people will end that we can find ourselves flooded with gratitude for their presence. The friction of our limitations is what necessitates effort (of all kinds), and effort—rewarded and not—is where we find meaning. Surround yourself with friends who love you and love them deeply, and you will grow. It’s worth applying every part of yourself, including your intellect, to the question of how to do the right thing.\u003c/p>\n\u003cp>There was so much in this series to admire: outstanding performances from the core cast and tons of guests, wonderful writing, weird jokes (Knish From A Rose 4-ever), a positively divine official podcast, glorious production design, inventive visual effects and, yes, the decision to exit when it was time. Maybe too early. Maybe. But isn’t that the way it goes?\u003c/p>\n\u003cp>Schur has talked about the fact that after the end of \u003cem>Parks\u003c/em>, NBC was willing to try just about anything he wanted to make. So naturally, he made a philosophical comedy about decency that regularly quoted philosophers, took strong positions on frozen yogurt (suitable only for a \u003cem>fake\u003c/em> heaven), pulled off some remarkable surprises and packed a year of sobbing into a 75-minute finale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Humanity is beautiful and weird and frustrating, and joy and loss are twins. That’s a lot to get out of a show that also taught me to yell “BORTLES!” when I’m trying to get out of trouble.\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=A+Goodbye+To+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Endings are sad, but without them, nothing matters.\u003c/p>\n\u003cp>That was only one of the lessons of the thoughtful, emotional finale of NBC’s \u003cem>The Good Place\u003c/em>, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It’s leaving at the right time, when you’ve done your work. When you’re ready.\u003c/p>\n\u003cp>Creator Michael Schur, who also was behind \u003cem>Parks & Recreation\u003c/em>, has a kind of grudging, aggravated optimism that echoes in a lot of his work. \u003cem>The Good Place \u003c/em>was full of reminders of how petty and nasty people can be when they’re not specifically trying to discipline their worst instincts. It was also emphatic about the fact that it’s almost impossible to successfully weave your way through the complicated world of trying to be decent, given the way our current systems of commerce and government work. Similarly, the people we knew in Pawnee, Ind., were constantly besieged by smallness and disappointment—remember how Leslie Knope’s beautiful dream of elected office ended the first time.\u003c/p>\n\u003cp>But \u003cem>The Good Place\u003c/em>, like \u003cem>Parks\u003c/em>, became a show about the fact that even given those setbacks and disappointments, people can be good, can do good, can grant each other grace. And more than \u003cem>Parks\u003c/em>, \u003cem>The Good Place \u003c/em>became a playfully direct and explicit exploration of that idea.\u003c/p>\n\u003cp>Earlier on, the show was more about Eleanor, a self-proclaimed dirtbag in life trying in the afterlife to become good through concerted effort, with the help of her friends: Chidi, her teacher; Tahani, her nemesis-turned-friend; Jason, the Floridian dingdong DJ she adored; Janet, who is not a girl \u003cem>or \u003c/em>a robot; and Michael, her tormentor-turned-ally. She learned to sacrifice, to tell the truth, to be better, to persevere. And she became a leader. She learned to step in when no one knew what to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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They learned, as the show explicitly stated in the finale via a cameo from the philosophy professor Todd May, that mortality gives meaning to human life, so some kind of ending is necessary to make even the afterlife a place of true happiness. To be human is to know you are not forever; to know you are forever is to lose your humanity. Thus, Eleanor and friends developed a system in which even people in heaven could decide that the time had come for it to be over. Again: Heaven is not never leaving; it’s leaving at the right time, when the work is done.\u003c/p>\n\u003cp>Jason was the first to realize, after playing a perfect game of \u003cem>Madden\u003c/em> with his father, Donkey Doug, that he was ready to go. He said goodbye to Janet, coming to terms with the deeply relatable fear that he’d be forgotten, and he went into the redwoods where the show put its last door. And then, in true Jason fashion, he just kind of hung around, chilling, waiting for one last chance to see Janet. Like a monk, she pointed out. He didn’t get it.\u003c/p>\n\u003cp>Tahani went a different direction. Like the party planner she always was, Tahani decided to become an architect, designing entire afterlives in her peacock bow tie. She likes to plan, she likes to design, she likes to do for others—and now, she figured out how to do it from a place of generosity (as well as, sure, a desire to continue to get credit for her great ideas; she’s only post-human, after all).\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/Bnq6IRgt4yE'\n title='//www.youtube.com/embed/Bnq6IRgt4yE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then Chidi. Eleanor’s selfishness was now translated through love, and she tried to tempt him to stay with trips to Athens and Paris, asking him over and over to tell her all about philosophy again. He was willing to stay for her, but inevitably, because he had taught her well, she realized—and explained very clearly, in specific language of moral philosophy—that this was selfish of her, and that she had to let him go. So she did.\u003c/p>\n\u003cp>If there was a part of the finale I didn’t quite think resonated, it was the visit to Mindy St. Claire to persuade her to go through the system and attempt to qualify for the Good Place. I’ve always found the idea of the Medium Place very funny, and Maribeth Monroe is always marvelous in the role. But here, the idea that this was part of Eleanor’s final work that needed to be done didn’t \u003cem>quite \u003c/em>seem of a piece with the rest of the finale, even if her explanation that Mindy was the person she might have been if she hadn’t met her friends was very sweet.\u003c/p>\n\u003cp>What did seem spot-on was that Eleanor couldn’t leave until she saw to Michael. One of the show’s best swerves has been its reversal of the relationship between Michael and Eleanor from one where he was like a benevolent father to one where he is more like her well-meaning but disoriented teenage son. And Michael had the same problem that all of Eleanor’s friends had in the afterlife when they first got to the Good Place: he had no end in sight. He wasn’t even able to walk through the door, as he learned in the finale’s funniest sequence, in which Michael discovered that he didn’t disappear after passing through, even if he tried to hide behind a tree to make it seem like he did. (If all this show had done was bring out this dopey, broad part of Ted Danson’s comedic talent, it would have been worth it.)\u003c/p>\n\u003cp>No, Michael needed a chance to be human. Human, with all the annoyances and limitations and—this was perhaps what was stressed the most—uncertainty that humanity brings. And, granted his humanity, he delighted in burning his hands on a microwave dinner and playing with his giant dog (named Jason) and all the dumb, ordinary things he had never gotten to experience.\u003c/p>\n\u003cp>And then Eleanor could pass through the door, completing the journey she took when she died after being hit by some grocery carts … and then a truck. She began as a fraud, or so she believed, and ended up saving the world. She learned humanity from a bunch of very flawed people, none of whom understood it perfectly themselves.\u003c/p>\n\u003cp>What a weird, often extremely goofy, ultimately very profound 52 episodes those were. Not everything worked: I don’t think the new humans introduced this season as test cases ever clicked at all, despite good performances from the actors. At times, the systems of demons and trains and places and tests became so convoluted that I gave up, and I still probably couldn’t ace a test on exactly what happened in some of those systems.\u003c/p>\n\u003cp>But I understood its final philosophical stance perfectly. Fragility and preciousness are not paired out of some regrettable irony; they are reliant on each other. It’s because we know our time with people will end that we can find ourselves flooded with gratitude for their presence. The friction of our limitations is what necessitates effort (of all kinds), and effort—rewarded and not—is where we find meaning. Surround yourself with friends who love you and love them deeply, and you will grow. It’s worth applying every part of yourself, including your intellect, to the question of how to do the right thing.\u003c/p>\n\u003cp>There was so much in this series to admire: outstanding performances from the core cast and tons of guests, wonderful writing, weird jokes (Knish From A Rose 4-ever), a positively divine official podcast, glorious production design, inventive visual effects and, yes, the decision to exit when it was time. Maybe too early. Maybe. But isn’t that the way it goes?\u003c/p>\n\u003cp>Schur has talked about the fact that after the end of \u003cem>Parks\u003c/em>, NBC was willing to try just about anything he wanted to make. So naturally, he made a philosophical comedy about decency that regularly quoted philosophers, took strong positions on frozen yogurt (suitable only for a \u003cem>fake\u003c/em> heaven), pulled off some remarkable surprises and packed a year of sobbing into a 75-minute finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Humanity is beautiful and weird and frustrating, and joy and loss are twins. That’s a lot to get out of a show that also taught me to yell “BORTLES!” when I’m trying to get out of trouble.\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=A+Goodbye+To+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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