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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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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"title": "Super Bowl Commercials 2020: Strange, Smaaht, And So Very Expensive",
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"content": "\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\u003c/p>\n\u003cp>https://youtu.be/YyMev6_XZ9s\u003c/p>\n\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\u003c/p>\n\u003cp>https://youtu.be/yt-zXuAAD6Q\u003c/p>\n\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \u003c/p>\n\u003cp>https://youtu.be/vnLBmYCHjZI\u003c/p>\n\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\u003c/p>\n\u003cp>https://youtu.be/9Yp0yN8UxVg\u003c/p>\n\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\u003c/p>\n\u003cp>https://youtu.be/m4sVnOsXlAA\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\u003c/p>\n\u003cp>https://youtu.be/pj1meOmpezs\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\u003c/p>\n\u003cp>https://youtu.be/qgQllY4GtkE\u003c/p>\n\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\u003c/p>\n\u003cp>https://youtu.be/AnhzGUcENWo\u003c/p>\n\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://youtu.be/85iRQdjCzj0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+Ads+2020%3A+Strange%2C+Serious%2C+Smaaht%2C+And+So+Very+Expensive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\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/YyMev6_XZ9s'\n title='//www.youtube.com/embed/YyMev6_XZ9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\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/yt-zXuAAD6Q'\n title='//www.youtube.com/embed/yt-zXuAAD6Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \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/vnLBmYCHjZI'\n title='//www.youtube.com/embed/vnLBmYCHjZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\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/9Yp0yN8UxVg'\n title='//www.youtube.com/embed/9Yp0yN8UxVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\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/m4sVnOsXlAA'\n title='//www.youtube.com/embed/m4sVnOsXlAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\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/pj1meOmpezs'\n title='//www.youtube.com/embed/pj1meOmpezs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\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/qgQllY4GtkE'\n title='//www.youtube.com/embed/qgQllY4GtkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\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/AnhzGUcENWo'\n title='//www.youtube.com/embed/AnhzGUcENWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mystery Science Theater's Joel Hodgson on 'Aging Out' of the Show",
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"content": "\u003cp>These days, the act or \u003cem>re\u003c/em>acting is everywhere. Twitter is essentially one giant stream of people’s snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games.\u003c/p>\n\u003cp>Go back in time, though, and you won’t find too much in the way of reacting-as-entertainment. That, is, except for \u003cem>Mystery Science Theater 3000\u003c/em>, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988.\u003c/p>\n\u003cp>The show’s premise was wonderfully bizarre: a guy and two robots stuck on a spaceship, forced to watch bad movies and coping by wisecracking their way through the films. Aside from some comic segues, the bad movie was essentially the entirety of the show, plus witty remarks by show creator Joel Hodgson and his two robots, Tom Servo and Crow. It predated even DVD commentary tracks, and presaged the way we consume entertainment today.\u003c/p>\n\u003cp>A live version of \u003cem>Mystery Science Theater 3000\u003c/em> comes to San Francisco for two nights this weekend. For the diehard, day-one fans, the shows include Hodgson, along with new cast members, mocking terrible films. Hodgson is calling it his last \u003cem>Mystery Science Theater\u003c/em> tour—he’s been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017—and, in a short phone conversation from the road, he says he means it.\u003c/p>\n\u003cp>“I’m turning 60 next month,” Hodgson says. “My whole job now is to work with the brand and get it ready for the next guy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That “next guy” is new host Jonah Ray, who stars in the new Netflix episodes. (“He’s just a natural, positive force, and he’s amazing in that role,” Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, “and they’re all super-sweet,” he says. “You get a few people who are a little socially awkward, but I’m awkward in my own way, so it kind of works out.”\u003c/p>\n\u003cp>A lifetime of watching bad movies hasn’t dulled Hodgson’s senses so much that he can’t enjoy a good movie; he cites the latest Star Wars film as one he recently enjoyed. But he does find that, when he sees movies with others, some people expect him to rip a movie apart. “It’s our job. You try not to bring it with you,” Hodgson explains. “And I do feel like we like good movies just as much as bad ones.”\u003c/p>\n\u003cp>For this tour, the films on \u003cem>Mystery Science Theater\u003c/em>‘s sacrificial altar include \u003cem>No Retreat, No Surrender\u003c/em> and \u003cem>Circus of Horrors\u003c/em>. And if Hodgson is sad about this being his final tour, he doesn’t show it. \u003c/p>\n\u003cp>“I’m pretty happy, and I’m totally thinking about the end of it, for me. You kind of age out of it at a certain point. I’m not going to be one of those guys that’s so attached to it that they do it until they take him out in a box.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mystery Science Theater 3000’ comes to town for three shows, on Jan. 31 and Feb. 1, at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, the act or \u003cem>re\u003c/em>acting is everywhere. Twitter is essentially one giant stream of people’s snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games.\u003c/p>\n\u003cp>Go back in time, though, and you won’t find too much in the way of reacting-as-entertainment. That, is, except for \u003cem>Mystery Science Theater 3000\u003c/em>, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988.\u003c/p>\n\u003cp>The show’s premise was wonderfully bizarre: a guy and two robots stuck on a spaceship, forced to watch bad movies and coping by wisecracking their way through the films. Aside from some comic segues, the bad movie was essentially the entirety of the show, plus witty remarks by show creator Joel Hodgson and his two robots, Tom Servo and Crow. It predated even DVD commentary tracks, and presaged the way we consume entertainment today.\u003c/p>\n\u003cp>A live version of \u003cem>Mystery Science Theater 3000\u003c/em> comes to San Francisco for two nights this weekend. For the diehard, day-one fans, the shows include Hodgson, along with new cast members, mocking terrible films. Hodgson is calling it his last \u003cem>Mystery Science Theater\u003c/em> tour—he’s been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017—and, in a short phone conversation from the road, he says he means it.\u003c/p>\n\u003cp>“I’m turning 60 next month,” Hodgson says. “My whole job now is to work with the brand and get it ready for the next guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That “next guy” is new host Jonah Ray, who stars in the new Netflix episodes. (“He’s just a natural, positive force, and he’s amazing in that role,” Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, “and they’re all super-sweet,” he says. “You get a few people who are a little socially awkward, but I’m awkward in my own way, so it kind of works out.”\u003c/p>\n\u003cp>A lifetime of watching bad movies hasn’t dulled Hodgson’s senses so much that he can’t enjoy a good movie; he cites the latest Star Wars film as one he recently enjoyed. But he does find that, when he sees movies with others, some people expect him to rip a movie apart. “It’s our job. You try not to bring it with you,” Hodgson explains. “And I do feel like we like good movies just as much as bad ones.”\u003c/p>\n\u003cp>For this tour, the films on \u003cem>Mystery Science Theater\u003c/em>‘s sacrificial altar include \u003cem>No Retreat, No Surrender\u003c/em> and \u003cem>Circus of Horrors\u003c/em>. And if Hodgson is sad about this being his final tour, he doesn’t show it. \u003c/p>\n\u003cp>“I’m pretty happy, and I’m totally thinking about the end of it, for me. You kind of age out of it at a certain point. I’m not going to be one of those guys that’s so attached to it that they do it until they take him out in a box.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mystery Science Theater 3000’ comes to town for three shows, on Jan. 31 and Feb. 1, at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"headTitle": "In New Documentary ‘Miss Americana,’ Taylor Swift Shows Girls How to Break Free | KQED",
"content": "\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40RsbcFRwNA\u003c/p>\n\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\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/40RsbcFRwNA'\n title='//www.youtube.com/embed/40RsbcFRwNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gwen Ifill didn’t want it to be a big deal. \u003c/p>\n\u003cp>The legendary journalist knew she’d served as a trailblazer for women and especially a beacon of what is professionally possible for women of color. But in an interview with \u003cem>The New York Times,\u003c/em> she said she was eager for the days when it would not seem “like any breakthrough at all” for a black woman to be anchoring a national news program. \u003c/p>\n\u003cp>And yet, more than three years after her death, Ifill is still making breakthroughs. This time, on a stamp. \u003c/p>\n\u003cfigure id=\"attachment_13874108\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg\" alt=\"Gwen Ifill stamp.\" width=\"160\" height=\"252\" class=\"size-thumbnail wp-image-13874108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-800x1259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-1020x1606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-762x1200.jpg 762w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5.jpg 1212w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The Gwen Ifill stamp. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ifill, who died at the age of 61 after battling cancer, will be memorialized on a new U.S. Postal Service Forever stamp. She’ll be the \u003ca href=\"https://about.usps.com/newsroom/national-releases/2019/1022-usps-unveils-2020-stamps.htm\">43rd stamp in the Black Heritage series\u003c/a>. \u003c/p>\n\u003cp>It features a photo of her taken in 2008 by photographer Robert Severi. She looks relaxed, her smile reassuring and her gaze direct and friendly. Essentially, the same image she projected into living rooms for decades as the host of some of television’s most respected news programs. \u003c/p>\n\u003cp>“She touched my life because she was a damn good reporter,” Allison Davis, one of the founders of the National Association of Black Journalists told NPR. “She is what everybody should aspire to be.”\u003c/p>\n\u003cp>Ifill started out writing for newspapers at a time when it was rare to have a black woman in the newsroom — the late 1970s. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I came to work one day and found that someone had left at my workspace a little note that said [expletive] go home,” Ifill \u003ca href=\"https://www.npr.org/2016/11/15/502111459/veteran-washington-journalist-gwen-ifill-dies-at-61\">recalled \u003c/a>of her time as a college intern at the \u003cem>The Boston Herald\u003c/em> in the \u003cem>Makers \u003c/em>documentary. \u003c/p>\n\u003cp>She went on to work for the\u003cem> Baltimore Evening Sun\u003c/em>, \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> before transitioning to broadcast journalism. \u003c/p>\n\u003cp>As NPR’s Eric Deggans wrote: \u003c/p>\n\u003cblockquote>\u003cp>\n“She developed a reputation as a tough, incisive reporter who was serious about the work but never took herself too seriously. She achieved a lot of firsts. In 1999, she became the first black woman to host a national political talk show on TV – PBS’ ‘Washington Week In Review.’ She was the first black woman to moderate a vice presidential debate in 2004, returning for the 2008 VP debate. \n\u003c/p>\u003c/blockquote>\n\u003cp>The postal service receives about 40,000 suggestions for commemorative stamps each year. But only a handful of them actually make it to the post office.\u003c/p>\n\u003cp>While Davis says a woman of Ifill’s influence is deserving of the national honor, she says she resents somewhat that the gestures to honor important African Americans are made primarily made in February, Black History Month. \u003c/p>\n\u003cp>“She’s historical, and she should be honored all the months of the year. Because that’s the incredible legacy she leaves,” Davis said of Ifill.\u003c/p>\n\u003cp>The Ifill commemorative stamp will be issued on Thursday, Jan. 30. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+Gwen+Ifill+Honored+With+Black+Heritage+Forever+Stamp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gwen Ifill didn’t want it to be a big deal. \u003c/p>\n\u003cp>The legendary journalist knew she’d served as a trailblazer for women and especially a beacon of what is professionally possible for women of color. But in an interview with \u003cem>The New York Times,\u003c/em> she said she was eager for the days when it would not seem “like any breakthrough at all” for a black woman to be anchoring a national news program. \u003c/p>\n\u003cp>And yet, more than three years after her death, Ifill is still making breakthroughs. This time, on a stamp. \u003c/p>\n\u003cfigure id=\"attachment_13874108\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg\" alt=\"Gwen Ifill stamp.\" width=\"160\" height=\"252\" class=\"size-thumbnail wp-image-13874108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-800x1259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-768x1209.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-1020x1606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5-762x1200.jpg 762w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/ap_19364674683992_custom-bf061fc737b78262bc14447a5a72225b7b31eff5.jpg 1212w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The Gwen Ifill stamp. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ifill, who died at the age of 61 after battling cancer, will be memorialized on a new U.S. Postal Service Forever stamp. She’ll be the \u003ca href=\"https://about.usps.com/newsroom/national-releases/2019/1022-usps-unveils-2020-stamps.htm\">43rd stamp in the Black Heritage series\u003c/a>. \u003c/p>\n\u003cp>It features a photo of her taken in 2008 by photographer Robert Severi. She looks relaxed, her smile reassuring and her gaze direct and friendly. Essentially, the same image she projected into living rooms for decades as the host of some of television’s most respected news programs. \u003c/p>\n\u003cp>“She touched my life because she was a damn good reporter,” Allison Davis, one of the founders of the National Association of Black Journalists told NPR. “She is what everybody should aspire to be.”\u003c/p>\n\u003cp>Ifill started out writing for newspapers at a time when it was rare to have a black woman in the newsroom — the late 1970s. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I came to work one day and found that someone had left at my workspace a little note that said [expletive] go home,” Ifill \u003ca href=\"https://www.npr.org/2016/11/15/502111459/veteran-washington-journalist-gwen-ifill-dies-at-61\">recalled \u003c/a>of her time as a college intern at the \u003cem>The Boston Herald\u003c/em> in the \u003cem>Makers \u003c/em>documentary. \u003c/p>\n\u003cp>She went on to work for the\u003cem> Baltimore Evening Sun\u003c/em>, \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> before transitioning to broadcast journalism. \u003c/p>\n\u003cp>As NPR’s Eric Deggans wrote: \u003c/p>\n\u003cblockquote>\u003cp>\n“She developed a reputation as a tough, incisive reporter who was serious about the work but never took herself too seriously. She achieved a lot of firsts. In 1999, she became the first black woman to host a national political talk show on TV – PBS’ ‘Washington Week In Review.’ She was the first black woman to moderate a vice presidential debate in 2004, returning for the 2008 VP debate. \n\u003c/p>\u003c/blockquote>\n\u003cp>The postal service receives about 40,000 suggestions for commemorative stamps each year. But only a handful of them actually make it to the post office.\u003c/p>\n\u003cp>While Davis says a woman of Ifill’s influence is deserving of the national honor, she says she resents somewhat that the gestures to honor important African Americans are made primarily made in February, Black History Month. \u003c/p>\n\u003cp>“She’s historical, and she should be honored all the months of the year. Because that’s the incredible legacy she leaves,” Davis said of Ifill.\u003c/p>\n\u003cp>The Ifill commemorative stamp will be issued on Thursday, Jan. 30. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Journalist+Gwen+Ifill+Honored+With+Black+Heritage+Forever+Stamp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oFrp_pWajmA\u003c/p>\n\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMdn2Ao7-88\u003c/p>\n\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tw0l6e1iOsU&feature=emb_logo\u003c/p>\n\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\n\u003cp>https://twitter.com/jackallisonLOL/status/1210296178996203520\u003c/p>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n",
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"excerpt": "In six years, Michael Che's gone from a 'Daily Show' correspondent to one of the most important figures at 'SNL.' Along the way, he also turned into a bully.",
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"title": "Charting Michael Che's Fall From Endearing Comic to Embarrassing Bully | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\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/oFrp_pWajmA'\n title='//www.youtube.com/embed/oFrp_pWajmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\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/fMdn2Ao7-88'\n title='//www.youtube.com/embed/fMdn2Ao7-88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\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/tw0l6e1iOsU'\n title='//www.youtube.com/embed/tw0l6e1iOsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Country music channel CMT will now give equal airtime to male and female artists during its early-morning music video hours. The channel announced the news \u003ca href=\"https://twitter.com/CMT/status/1219650866082242562\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter today\u003c/a>, expanding on their previous policy (60-40, male to female).\u003c/p>\n\u003cp>CMT airs music videos every day from 4 a.m. to 9 a.m., and also operates a separate channel dedicated to airing music videos around the clock.\u003c/p>\n\u003cp>Leslie Fram, senior vice president of music strategy for CMT, says the decision was driven by women being under-represented in country music—whether on TV, streaming platforms, or terrestrial radio.\u003c/p>\n\u003cp>“We’re not saying every female artist and every single song from a female artist should be played,” Fram tells NPR. “We’re saying, let’s have an equal playing field and let the fans decide.”\u003c/p>\n\u003cp>Women being overlooked by the country music establishment has been a long-standing issue. In the press release announcing its new policy, CMT linked to a segment, from the TBS show \u003cem>Full Frontal with Samantha Bee\u003c/em>, about the issue. A \u003ca href=\"https://www.npr.org/2019/04/05/710262673/country-music-excludes-women-especially-over-age-40-study-finds\" target=\"_blank\" rel=\"noopener noreferrer\">study released last year\u003c/a> by researchers at the University of Southern California’s Annenberg Inclusion Initiative found that across 500 of the top country songs from 2014-2018, only 16% were from female artists.\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=Country+Music+Channel+Promises+Equal+Video+Plays+For+Women+And+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Country music channel CMT will now give equal airtime to male and female artists during its early-morning music video hours. The channel announced the news \u003ca href=\"https://twitter.com/CMT/status/1219650866082242562\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter today\u003c/a>, expanding on their previous policy (60-40, male to female).\u003c/p>\n\u003cp>CMT airs music videos every day from 4 a.m. to 9 a.m., and also operates a separate channel dedicated to airing music videos around the clock.\u003c/p>\n\u003cp>Leslie Fram, senior vice president of music strategy for CMT, says the decision was driven by women being under-represented in country music—whether on TV, streaming platforms, or terrestrial radio.\u003c/p>\n\u003cp>“We’re not saying every female artist and every single song from a female artist should be played,” Fram tells NPR. “We’re saying, let’s have an equal playing field and let the fans decide.”\u003c/p>\n\u003cp>Women being overlooked by the country music establishment has been a long-standing issue. In the press release announcing its new policy, CMT linked to a segment, from the TBS show \u003cem>Full Frontal with Samantha Bee\u003c/em>, about the issue. A \u003ca href=\"https://www.npr.org/2019/04/05/710262673/country-music-excludes-women-especially-over-age-40-study-finds\" target=\"_blank\" rel=\"noopener noreferrer\">study released last year\u003c/a> by researchers at the University of Southern California’s Annenberg Inclusion Initiative found that across 500 of the top country songs from 2014-2018, only 16% were from female artists.\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=Country+Music+Channel+Promises+Equal+Video+Plays+For+Women+And+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Recording Academy CEO Suspended Amid Misconduct Allegations Ahead Of Grammy Awards",
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"content": "\u003cp>The \u003ca href=\"https://www.grammy.com/recording-academy\">National Academy of Recording Arts and Sciences\u003c/a> has placed its president and CEO, Deborah Dugan, on administrative leave in a major shakeup at the organization less than two weeks before this year’s Grammy Awards ceremony.\u003c/p>\n\u003cp>A statement released by the Recording Academy’s board of trustees referred to “a formal allegation of misconduct by a senior female member of the Recording Academy team” and said it had placed Dugan “on administrative leave, effective immediately.”\u003c/p>\n\u003cp>The statement did not specify the nature of the allegation, nor who is accused of committing the misconduct.\u003c/p>\n\u003cp>Dugan became the Recording Academy’s first female CEO less than six months ago. She followed Neil Portnow, who led the group for 17 years, but sparked controversy with a comment after the 2018 show that \u003ca href=\"https://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\">women needed to “step up”\u003c/a> to get ahead in the music industry.\u003c/p>\n\u003cp>“The board has also retained two independent third-party investigators to conduct independent investigations of the allegations,” the statement said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The board determined this action to be necessary in order to restore the confidence of the Recording Academy’s membership, repair Recording Academy employee morale, and allow the Recording Academy to focus on its mission of serving all music creators,” it continued. “The Recording Academy Board of Trustees is committed to fostering a safe, diverse, and inclusive workplace, music industry, and society.”\u003c/p>\n\u003cp>The Recording Academy’s board chair, \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\">Harvey Mason Jr.\u003c/a>, a music producer who has worked with such recording artists as Chris Brown and Jennifer Hudson, will step in as interim president and CEO, the statement said.\u003c/p>\n\u003cp>Dugan headed Bono’s \u003ca href=\"https://www.red.org/\">(RED)\u003c/a>, an organization focused on combating HIV/AIDS, before coming to the Academy and had previously been president of Disney Publishing Worldwide and executive vice president at EMI/Capitol Records.\u003c/p>\n\u003cp>She came in promising to “reinvent” the organization, telling \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">NPR in an interview in December\u003c/a> that she was leading “a major restructuring to allow for immediate diversity.”\u003c/p>\n\u003cp>Dugan said she and Mason were “personally and professionally committed to advance and champion diversity, inclusivity, transparency — making processes simple and understandable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.grammy.com/grammys/news/billie-eilish-lizzo-aerosmith-gwen-stefani-and-blake-shelton-perform-2020-grammys\">Grammy Awards ceremony\u003c/a>, to be held Jan. 26, will feature performances by Lizzo — who tops the list with eight nominations — as well as Aerosmith, Camila Cabello, Billie Eilish, H.E.R., the Jonas Brothers, Demi Lovato, Bonnie Raitt, Rosalía, Run-DMC, Blake Shelton, Gwen Stefani, Charlie Wilson and Tyler, the Creator, among others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recording+Academy+CEO+Suspended+Amid+Misconduct+Allegations+Ahead+Of+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.grammy.com/recording-academy\">National Academy of Recording Arts and Sciences\u003c/a> has placed its president and CEO, Deborah Dugan, on administrative leave in a major shakeup at the organization less than two weeks before this year’s Grammy Awards ceremony.\u003c/p>\n\u003cp>A statement released by the Recording Academy’s board of trustees referred to “a formal allegation of misconduct by a senior female member of the Recording Academy team” and said it had placed Dugan “on administrative leave, effective immediately.”\u003c/p>\n\u003cp>The statement did not specify the nature of the allegation, nor who is accused of committing the misconduct.\u003c/p>\n\u003cp>Dugan became the Recording Academy’s first female CEO less than six months ago. She followed Neil Portnow, who led the group for 17 years, but sparked controversy with a comment after the 2018 show that \u003ca href=\"https://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\">women needed to “step up”\u003c/a> to get ahead in the music industry.\u003c/p>\n\u003cp>“The board has also retained two independent third-party investigators to conduct independent investigations of the allegations,” the statement said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The board determined this action to be necessary in order to restore the confidence of the Recording Academy’s membership, repair Recording Academy employee morale, and allow the Recording Academy to focus on its mission of serving all music creators,” it continued. “The Recording Academy Board of Trustees is committed to fostering a safe, diverse, and inclusive workplace, music industry, and society.”\u003c/p>\n\u003cp>The Recording Academy’s board chair, \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\">Harvey Mason Jr.\u003c/a>, a music producer who has worked with such recording artists as Chris Brown and Jennifer Hudson, will step in as interim president and CEO, the statement said.\u003c/p>\n\u003cp>Dugan headed Bono’s \u003ca href=\"https://www.red.org/\">(RED)\u003c/a>, an organization focused on combating HIV/AIDS, before coming to the Academy and had previously been president of Disney Publishing Worldwide and executive vice president at EMI/Capitol Records.\u003c/p>\n\u003cp>She came in promising to “reinvent” the organization, telling \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">NPR in an interview in December\u003c/a> that she was leading “a major restructuring to allow for immediate diversity.”\u003c/p>\n\u003cp>Dugan said she and Mason were “personally and professionally committed to advance and champion diversity, inclusivity, transparency — making processes simple and understandable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.grammy.com/grammys/news/billie-eilish-lizzo-aerosmith-gwen-stefani-and-blake-shelton-perform-2020-grammys\">Grammy Awards ceremony\u003c/a>, to be held Jan. 26, will feature performances by Lizzo — who tops the list with eight nominations — as well as Aerosmith, Camila Cabello, Billie Eilish, H.E.R., the Jonas Brothers, Demi Lovato, Bonnie Raitt, Rosalía, Run-DMC, Blake Shelton, Gwen Stefani, Charlie Wilson and Tyler, the Creator, among others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recording+Academy+CEO+Suspended+Amid+Misconduct+Allegations+Ahead+Of+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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.",
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"soldout": {
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