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"content": "\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v6r6h8oAJw\u003c/p>\n\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-g44lDWyJC0\u003c/p>\n\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU3Hq_UgHE4\u003c/p>\n\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-g44lDWyJC0'\n title='//www.youtube.com/embed/-g44lDWyJC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\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/ZU3Hq_UgHE4'\n title='//www.youtube.com/embed/ZU3Hq_UgHE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\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=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ilana Glazer Strikes Out on Her Own in New Stand-Up Special",
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"content": "\u003cp>Ilana Glazer is ready for you to get to know the real Ilana.\u003c/p>\n\u003cp>She’s different, she’ll have you know, than Ilana Wexler, her free-wheeling alter-ego on \u003cem>Broad City\u003c/em>, the comedy Web-turned-TV series she created alongside her co-star, Abbi Jacobson.\u003c/p>\n\u003cp>For one, she jokes in her new stand-up special, unlike the fake Ilana, the real Ilana is mature enough to take her vitamins before she hits the bowl of weed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JrbsQRpM9Ok\u003c/p>\n\u003cp>Jokes aside, Glazer is still figuring out who the real Ilana is, after closing a decade-long chapter on the \u003cem>Broad City \u003c/em>world with the series finale earlier this year. As in the final episode, the inseparable duo of Glazer and Jacobson, must go through the growing pains of striking out on their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Thinking of myself as an individual entity when it comes to my work … it’s just been hard,” she said in an interview with\u003cem> All Things Considered\u003c/em>. “You know, it was my whole twenties.”\u003c/p>\n\u003cp>Glazer’s working out her real-life solo act in part on stage in an hour-long special, \u003cem>The Planet Is Burning\u003c/em>, set to hit Amazon Prime next month. In it, we see the 32-year-old wrestle with adult-y things like her marriage—and her discomfort with the unfamiliar assignments of “wife” and “husband.”\u003c/p>\n\u003cp>Like her \u003cem>Broad City\u003c/em> character, Glazer still dances around, slips in and out of voices and impressions, and sings. But beneath that jubilance is a seriousness rarely captured on screen.\u003c/p>\n\u003cp>While her 20-something character laughed her way through constant shenanigans, she and Jacobson were working hard behind the scenes. “I do feel a little bit like I missed out on mistake-making,” Glazer said. “\u003cem>Broad City\u003c/em> was this context for our mistakes, where we got to put them in a box and then leave them there. And now I don’t really have that box.”\u003c/p>\n\u003cp>Over the past decade, Glazer said she’s also realized that she boxed up some feelings while buckling down on the work.\u003c/p>\n\u003cp>“I’ve been so grateful and ‘Thank you so much for this opportunity,’ for so long,” she said. “Also, in \u003cem>Broad City\u003c/em>, I played the light character and Abbi played the darker character.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=avzXGjdBLkA\u003c/p>\n\u003cp>Lately, she said, she’s embracing that darker side.\u003c/p>\n\u003cp>“I’m angrier than I’ve been allowing myself to see,” she said. “I have this fire in me that I was not seeing was part of my light.”\u003c/p>\n\u003cp>That fire lit under her appears to drive her political activism efforts. She helped start \u003ca href=\"https://generatorcollective.com/\">Generator Collective\u003c/a>, a storytelling project that encourages Americans to share their own stories about how public policies affect them personally.\u003c/p>\n\u003cp>The group’s goal, she said, is to “lower the barrier of entry to talking about politics.”\u003c/p>\n\u003cp>Glazer’s new material might be another attempt at lowering that barrier with humor to talk about the current political moment.\u003c/p>\n\u003cp>In \u003cem>The Planet Is Burning\u003c/em>, between her twerking and stage-strutting, the comedian touches on the rise of white nationalism through a stolen-haircut joke, and diagnoses the lack of climate change action as the “ultimate \u003ca href=\"https://www.urbandictionary.com/define.php?term=FOMO\">FOMO\u003c/a>.”\u003c/p>\n\u003cp>In watching herself in the footage from her special, she said, she sees someone who is “more me than Ilana Wexler was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people think because of Ilana Wexler and \u003cem>Broad City\u003c/em>, I’m like this happier, more \u003cem>up \u003c/em>person,” she said. “And I am, but I’m kind of an optimistic nihilist. ‘Cause like while we’re on the planet, why not have fun? But—it’s literally burning.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Ilana+Glazer+Strikes+Out+On+Her+Own+In+New+Stand-Up+Special&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ilana Glazer is ready for you to get to know the real Ilana.\u003c/p>\n\u003cp>She’s different, she’ll have you know, than Ilana Wexler, her free-wheeling alter-ego on \u003cem>Broad City\u003c/em>, the comedy Web-turned-TV series she created alongside her co-star, Abbi Jacobson.\u003c/p>\n\u003cp>For one, she jokes in her new stand-up special, unlike the fake Ilana, the real Ilana is mature enough to take her vitamins before she hits the bowl of weed.\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/JrbsQRpM9Ok'\n title='//www.youtube.com/embed/JrbsQRpM9Ok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jokes aside, Glazer is still figuring out who the real Ilana is, after closing a decade-long chapter on the \u003cem>Broad City \u003c/em>world with the series finale earlier this year. As in the final episode, the inseparable duo of Glazer and Jacobson, must go through the growing pains of striking out on their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Thinking of myself as an individual entity when it comes to my work … it’s just been hard,” she said in an interview with\u003cem> All Things Considered\u003c/em>. “You know, it was my whole twenties.”\u003c/p>\n\u003cp>Glazer’s working out her real-life solo act in part on stage in an hour-long special, \u003cem>The Planet Is Burning\u003c/em>, set to hit Amazon Prime next month. In it, we see the 32-year-old wrestle with adult-y things like her marriage—and her discomfort with the unfamiliar assignments of “wife” and “husband.”\u003c/p>\n\u003cp>Like her \u003cem>Broad City\u003c/em> character, Glazer still dances around, slips in and out of voices and impressions, and sings. But beneath that jubilance is a seriousness rarely captured on screen.\u003c/p>\n\u003cp>While her 20-something character laughed her way through constant shenanigans, she and Jacobson were working hard behind the scenes. “I do feel a little bit like I missed out on mistake-making,” Glazer said. “\u003cem>Broad City\u003c/em> was this context for our mistakes, where we got to put them in a box and then leave them there. And now I don’t really have that box.”\u003c/p>\n\u003cp>Over the past decade, Glazer said she’s also realized that she boxed up some feelings while buckling down on the work.\u003c/p>\n\u003cp>“I’ve been so grateful and ‘Thank you so much for this opportunity,’ for so long,” she said. “Also, in \u003cem>Broad City\u003c/em>, I played the light character and Abbi played the darker character.”\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/avzXGjdBLkA'\n title='//www.youtube.com/embed/avzXGjdBLkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lately, she said, she’s embracing that darker side.\u003c/p>\n\u003cp>“I’m angrier than I’ve been allowing myself to see,” she said. “I have this fire in me that I was not seeing was part of my light.”\u003c/p>\n\u003cp>That fire lit under her appears to drive her political activism efforts. She helped start \u003ca href=\"https://generatorcollective.com/\">Generator Collective\u003c/a>, a storytelling project that encourages Americans to share their own stories about how public policies affect them personally.\u003c/p>\n\u003cp>The group’s goal, she said, is to “lower the barrier of entry to talking about politics.”\u003c/p>\n\u003cp>Glazer’s new material might be another attempt at lowering that barrier with humor to talk about the current political moment.\u003c/p>\n\u003cp>In \u003cem>The Planet Is Burning\u003c/em>, between her twerking and stage-strutting, the comedian touches on the rise of white nationalism through a stolen-haircut joke, and diagnoses the lack of climate change action as the “ultimate \u003ca href=\"https://www.urbandictionary.com/define.php?term=FOMO\">FOMO\u003c/a>.”\u003c/p>\n\u003cp>In watching herself in the footage from her special, she said, she sees someone who is “more me than Ilana Wexler was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people think because of Ilana Wexler and \u003cem>Broad City\u003c/em>, I’m like this happier, more \u003cem>up \u003c/em>person,” she said. “And I am, but I’m kind of an optimistic nihilist. ‘Cause like while we’re on the planet, why not have fun? But—it’s literally burning.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Ilana+Glazer+Strikes+Out+On+Her+Own+In+New+Stand-Up+Special&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Ringo Starr and Sammy Davis Jr. in 1985's Bonkers 'Alice in Wonderland'",
"headTitle": "Watch Ringo Starr and Sammy Davis Jr. in 1985’s Bonkers ‘Alice in Wonderland’ | KQED",
"content": "\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cx0LNH4lx9c\u003c/p>\n\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O7SAvwZcNoU\u003c/p>\n\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kFi4DJ80bV4\u003c/p>\n\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vyH_Vhh22AE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\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/Cx0LNH4lx9c'\n title='//www.youtube.com/embed/Cx0LNH4lx9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\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/O7SAvwZcNoU'\n title='//www.youtube.com/embed/O7SAvwZcNoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\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/kFi4DJ80bV4'\n title='//www.youtube.com/embed/kFi4DJ80bV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vyH_Vhh22AE'\n title='//www.youtube.com/embed/vyH_Vhh22AE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nearly every woman who uses birth control has a story about the worst birth control-related thing that’s ever happened to her. In my friend group alone, there have been contraception-induced blood clots, never-ending periods, severe bouts of depression, and even a stroke and subsequent lawsuit. I too have had several “worsts” over the years, but a brand new personal record was set last month at what was supposed to be a routine OB/GYN appointment.\u003c/p>\n\u003cp>Afterwards at home, emotionally drained, in a significant amount of pain and desperately looking for distraction, I made the mistake of opening Twitter. I was greeted by this:\u003c/p>\n\u003cp>https://twitter.com/bader_diedrich/status/1197600303928922112\u003c/p>\n\u003cp>On any other day, it may not have even registered. But this happened to be the day I had attempted, unsuccessfully, to get an IUD implanted. Multiple women had warned me in advance that this would be a very painful procedure, and ultimately the process involved agonizing forced cervical dilation, two injections into my cervix, and bleeding and cramping so awful that it gave me insight into what childbirth might be like. At the end of it all, the process failed for reasons I won’t bore you with. When I apologized for crying, my doctor reassured me that other women often have similar responses—or simply just pass out—during the procedure.\u003c/p>\n\u003cp>And then, the “hard pass” tweet above. Needless to say, coming home to the sight of multiple men, including ones that consider themselves feminist allies (both Patton Oswalt and Cameron Kasky “liked” Diedrich Bader’s tweet) gleefully acting as if getting a single, external birth control injection was a preposterous proposition didn’t just feel like a slap in the face. It felt like a metaphor for how birth control is treated across the board in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/the_tevvster/status/1331353778579267586\u003c/p>\n\u003cp>Since the arrival of the very first FDA-approved birth control pill in 1960, the burden of avoiding unwanted pregnancy has fallen almost entirely on the shoulders of women. In the \u003ca href=\"https://www.guttmacher.org/fact-sheet/contraceptive-use-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">United States in 2014\u003c/a>, over 13 million women were using some form of hormonal birth control, versus 5 million condom users.\u003c/p>\n\u003cp>The right to access the pill was hard-fought (between 1965 and 1972, only married couples had permission to use it) and sparked a wave of newfound liberation for women once it was available to all. All these years later, there is a leftover sense—exacerbated by increasingly \u003ca href=\"https://www.kqed.org/pop/79915/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out\" target=\"_blank\" rel=\"noopener noreferrer\">draconian restrictions\u003c/a> on women’s reproductive healthcare—that women should be grateful to have access to birth control at all.\u003c/p>\n\u003cp>And since we’re so busy desperately hanging onto whatever bodily autonomy we can grasp, we rarely stop to ask why the onus of birth control is, outside of condoms and vasectomies, entirely on us. This despite the plethora of side effects (well-documented since the \u003ca href=\"https://www.nwhn.org/pill-hearings/\" target=\"_blank\" rel=\"noopener noreferrer\">1970 Senate hearings about pill safety\u003c/a>) and physical trauma that we suffer in the process of using it.\u003c/p>\n\u003cp>As modern inequality goes, the division of responsibility between men and women when it comes to contraception is woefully under-examined. A trial for injectable birth control for men \u003ca href=\"https://www.npr.org/sections/health-shots/2016/11/03/500549503/male-birth-control-study-killed-after-men-complain-about-side-effects\" target=\"_blank\" rel=\"noopener noreferrer\">was halted\u003c/a> in 2016 because subjects complained of side effects like muscle aches, acne and mood changes—all things women routinely abide with all forms of hormonal contraception. The abandonment of the study constituted a major disappointment for millions of women, especially given how long it took to even get a trial for men at all.\u003c/p>\n\u003cp>At the time, one researcher named \u003ca href=\"https://www.bbc.com/news/health-47691567\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Pacey told the BBC\u003c/a> that, “Unfortunately, so far, there has been very little pharmaceutical company interest in bringing a male contraceptive pill to the market, for reasons that I don’t fully understand but I suspect are more down to business than science.”\u003c/p>\n\u003cp>As Bader’s tweet proved, many men seem to have no idea of the physical, mental and financial strain that contraception routinely places on women. Just months ago, one male acquaintance even told me that birth control was mostly designed for women because it’s “easier for women’s bodies to deal with.” When I pushed back, he couldn’t explain how or why he believed this.\u003c/p>\n\u003cp>Truthfully, that misconception is not entirely his fault either. Women’s birth control burdens are grossly under-acknowledged, under-discussed and under-depicted in American pop culture. And while we have seen increasingly frank and realistic depictions of abortion on TV in recent years—thanks to shows like \u003cem>Shrill\u003c/em>, \u003cem>Dear White People\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>GLOW\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>—women’s contraceptive issues remain pretty much out of the picture.\u003c/p>\n\u003cp>Granted, \u003cem>Master of None\u003c/em>‘s premiere did feature a magnificently awkward first-date Plan B purchase, and \u003cem>Shrill\u003c/em> brilliantly depicted the high cost of morning-after pills (main character Annie always paid for them, not her boyfriend). But emergency contraception is no reflection of what women most regularly put up with.\u003c/p>\n\u003cp>Evaluating passing mentions of women’s birth control on TV, they tend to either remind women how lucky we are to have access to it (like the \u003ca href=\"https://www.vulture.com/2013/06/mad-men-a-history-of-peggy-and-joan.html\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Mad Men\u003c/em>\u003c/a> when Joan tells Peggy about a medication with a side effect that acts like the pill), or they gloss over side effects completely. In a \u003ca href=\"https://www.imdb.com/title/tt2510746/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 episode\u003c/a> of \u003cem>The Mindy Project\u003c/em>, for example, when a college student tells Dr. Lahiri, “I heard that birth control makes you fat and cranky,” the doc simply quips back, “So does pregnancy.”\u003c/p>\n\u003cp>Truth be told, television has been doing a terrible job of reflecting women’s reproductive realities for decades. Teens watching sitcoms from the ’90s, for example, might be left with the impression that women’s contraception of choice back then was the diaphragm. \u003cem>Sex and the City\u003c/em>, \u003cem>Friends\u003c/em>, \u003cem>Felicity \u003c/em>and \u003cem>Seinfeld\u003c/em> all had diaphragm storylines at a time when \u003ca href=\"https://www.cdc.gov/NCHS/data/series/sr_23/sr23_029.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">less than 1%\u003c/a> of American women actually used them.\u003c/p>\n\u003cp>And while \u003cem>Seinfeld\u003c/em>‘s “sponge-worthy” episode remains one of the series’ funniest, even in 1995 it seemed like an odd choice for the thoroughly modern Elaine Benes. “Each episode, even the \u003cem>Sex and the City\u003c/em> episode,” notes \u003ca href=\"https://www.vice.com/en_us/article/jpg9qd/90s-sitcoms-were-strangely-obsessed-with-this-unpopular-form-of-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vice\u003c/em> \u003c/a>journalist Kaleigh Rogers, “was written by a man who perhaps just didn’t have as keen of an awareness that diaphragms weren’t really a thing any more.”\u003c/p>\n\u003cp>And therein lies the problem. There still aren’t enough female voices in writers’ rooms or on TV, and the ones that are there aren’t, for the most part, concerning themselves with this topic. The fact that \u003cem>Shrill—\u003c/em>an exception to the rule\u003cem>—\u003c/em>managed to cause a full-blown \u003ca href=\"https://www.glamour.com/story/what-shrill-gets-right-and-wrong-about-the-morning-after-pill-weight-limit\" target=\"_blank\" rel=\"noopener noreferrer\">internet panic\u003c/a> with its revelation that emergency contraception is “only dosed for women 175 pounds and under” speaks volumes about TV characters’ need to be having this conversation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Birth control as the near-exclusive domain of women wasn’t an idea conceived by pop culture, but it’s not an assumption that’s getting any pushback from it, either. And as long as TV continues to ignore daily birth control realities for women, it halts the national conversation, helps stall progress at the pharmaceutical level, and keeps men in the dark.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly every woman who uses birth control has a story about the worst birth control-related thing that’s ever happened to her. In my friend group alone, there have been contraception-induced blood clots, never-ending periods, severe bouts of depression, and even a stroke and subsequent lawsuit. I too have had several “worsts” over the years, but a brand new personal record was set last month at what was supposed to be a routine OB/GYN appointment.\u003c/p>\n\u003cp>Afterwards at home, emotionally drained, in a significant amount of pain and desperately looking for distraction, I made the mistake of opening Twitter. I was greeted by this:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On any other day, it may not have even registered. But this happened to be the day I had attempted, unsuccessfully, to get an IUD implanted. Multiple women had warned me in advance that this would be a very painful procedure, and ultimately the process involved agonizing forced cervical dilation, two injections into my cervix, and bleeding and cramping so awful that it gave me insight into what childbirth might be like. At the end of it all, the process failed for reasons I won’t bore you with. When I apologized for crying, my doctor reassured me that other women often have similar responses—or simply just pass out—during the procedure.\u003c/p>\n\u003cp>And then, the “hard pass” tweet above. Needless to say, coming home to the sight of multiple men, including ones that consider themselves feminist allies (both Patton Oswalt and Cameron Kasky “liked” Diedrich Bader’s tweet) gleefully acting as if getting a single, external birth control injection was a preposterous proposition didn’t just feel like a slap in the face. It felt like a metaphor for how birth control is treated across the board in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Since the arrival of the very first FDA-approved birth control pill in 1960, the burden of avoiding unwanted pregnancy has fallen almost entirely on the shoulders of women. In the \u003ca href=\"https://www.guttmacher.org/fact-sheet/contraceptive-use-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">United States in 2014\u003c/a>, over 13 million women were using some form of hormonal birth control, versus 5 million condom users.\u003c/p>\n\u003cp>The right to access the pill was hard-fought (between 1965 and 1972, only married couples had permission to use it) and sparked a wave of newfound liberation for women once it was available to all. All these years later, there is a leftover sense—exacerbated by increasingly \u003ca href=\"https://www.kqed.org/pop/79915/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out\" target=\"_blank\" rel=\"noopener noreferrer\">draconian restrictions\u003c/a> on women’s reproductive healthcare—that women should be grateful to have access to birth control at all.\u003c/p>\n\u003cp>And since we’re so busy desperately hanging onto whatever bodily autonomy we can grasp, we rarely stop to ask why the onus of birth control is, outside of condoms and vasectomies, entirely on us. This despite the plethora of side effects (well-documented since the \u003ca href=\"https://www.nwhn.org/pill-hearings/\" target=\"_blank\" rel=\"noopener noreferrer\">1970 Senate hearings about pill safety\u003c/a>) and physical trauma that we suffer in the process of using it.\u003c/p>\n\u003cp>As modern inequality goes, the division of responsibility between men and women when it comes to contraception is woefully under-examined. A trial for injectable birth control for men \u003ca href=\"https://www.npr.org/sections/health-shots/2016/11/03/500549503/male-birth-control-study-killed-after-men-complain-about-side-effects\" target=\"_blank\" rel=\"noopener noreferrer\">was halted\u003c/a> in 2016 because subjects complained of side effects like muscle aches, acne and mood changes—all things women routinely abide with all forms of hormonal contraception. The abandonment of the study constituted a major disappointment for millions of women, especially given how long it took to even get a trial for men at all.\u003c/p>\n\u003cp>At the time, one researcher named \u003ca href=\"https://www.bbc.com/news/health-47691567\" target=\"_blank\" rel=\"noopener noreferrer\">Allan Pacey told the BBC\u003c/a> that, “Unfortunately, so far, there has been very little pharmaceutical company interest in bringing a male contraceptive pill to the market, for reasons that I don’t fully understand but I suspect are more down to business than science.”\u003c/p>\n\u003cp>As Bader’s tweet proved, many men seem to have no idea of the physical, mental and financial strain that contraception routinely places on women. Just months ago, one male acquaintance even told me that birth control was mostly designed for women because it’s “easier for women’s bodies to deal with.” When I pushed back, he couldn’t explain how or why he believed this.\u003c/p>\n\u003cp>Truthfully, that misconception is not entirely his fault either. Women’s birth control burdens are grossly under-acknowledged, under-discussed and under-depicted in American pop culture. And while we have seen increasingly frank and realistic depictions of abortion on TV in recent years—thanks to shows like \u003cem>Shrill\u003c/em>, \u003cem>Dear White People\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>GLOW\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>—women’s contraceptive issues remain pretty much out of the picture.\u003c/p>\n\u003cp>Granted, \u003cem>Master of None\u003c/em>‘s premiere did feature a magnificently awkward first-date Plan B purchase, and \u003cem>Shrill\u003c/em> brilliantly depicted the high cost of morning-after pills (main character Annie always paid for them, not her boyfriend). But emergency contraception is no reflection of what women most regularly put up with.\u003c/p>\n\u003cp>Evaluating passing mentions of women’s birth control on TV, they tend to either remind women how lucky we are to have access to it (like the \u003ca href=\"https://www.vulture.com/2013/06/mad-men-a-history-of-peggy-and-joan.html\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Mad Men\u003c/em>\u003c/a> when Joan tells Peggy about a medication with a side effect that acts like the pill), or they gloss over side effects completely. In a \u003ca href=\"https://www.imdb.com/title/tt2510746/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 episode\u003c/a> of \u003cem>The Mindy Project\u003c/em>, for example, when a college student tells Dr. Lahiri, “I heard that birth control makes you fat and cranky,” the doc simply quips back, “So does pregnancy.”\u003c/p>\n\u003cp>Truth be told, television has been doing a terrible job of reflecting women’s reproductive realities for decades. Teens watching sitcoms from the ’90s, for example, might be left with the impression that women’s contraception of choice back then was the diaphragm. \u003cem>Sex and the City\u003c/em>, \u003cem>Friends\u003c/em>, \u003cem>Felicity \u003c/em>and \u003cem>Seinfeld\u003c/em> all had diaphragm storylines at a time when \u003ca href=\"https://www.cdc.gov/NCHS/data/series/sr_23/sr23_029.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">less than 1%\u003c/a> of American women actually used them.\u003c/p>\n\u003cp>And while \u003cem>Seinfeld\u003c/em>‘s “sponge-worthy” episode remains one of the series’ funniest, even in 1995 it seemed like an odd choice for the thoroughly modern Elaine Benes. “Each episode, even the \u003cem>Sex and the City\u003c/em> episode,” notes \u003ca href=\"https://www.vice.com/en_us/article/jpg9qd/90s-sitcoms-were-strangely-obsessed-with-this-unpopular-form-of-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vice\u003c/em> \u003c/a>journalist Kaleigh Rogers, “was written by a man who perhaps just didn’t have as keen of an awareness that diaphragms weren’t really a thing any more.”\u003c/p>\n\u003cp>And therein lies the problem. There still aren’t enough female voices in writers’ rooms or on TV, and the ones that are there aren’t, for the most part, concerning themselves with this topic. The fact that \u003cem>Shrill—\u003c/em>an exception to the rule\u003cem>—\u003c/em>managed to cause a full-blown \u003ca href=\"https://www.glamour.com/story/what-shrill-gets-right-and-wrong-about-the-morning-after-pill-weight-limit\" target=\"_blank\" rel=\"noopener noreferrer\">internet panic\u003c/a> with its revelation that emergency contraception is “only dosed for women 175 pounds and under” speaks volumes about TV characters’ need to be having this conversation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Birth control as the near-exclusive domain of women wasn’t an idea conceived by pop culture, but it’s not an assumption that’s getting any pushback from it, either. And as long as TV continues to ignore daily birth control realities for women, it halts the national conversation, helps stall progress at the pharmaceutical level, and keeps men in the dark.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Facing a barrage of criticism for pulling ads featuring a lesbian couple from its airwaves, the Hallmark Channel has reversed course, and says it will now work to “reinstate the commercials.”\u003c/p>\n\u003cp>The ad for the wedding planning site Zola shows a couple at the altar, wishing they had used the service before their big day.\u003c/p>\n\u003cp>“Do you think Zola could have made planning your perfect wedding easier?” asks the officiant.\u003c/p>\n\u003cp>“We do!” The two women say, before kissing and walking down the aisle as a married couple.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pVnnGK6BP4&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hallmark pulled the ad and three others featuring the couple after pressure from One Million Moms, an organization which says the ad promotes homosexuality. The group, a division of the conservative American Family Association, \u003ca href=\"https://onemillionmoms.com/current-campaigns/hallmark-is-now-airing-lgbt-commercials-open-to-lgbt-movies/\">cited\u003c/a> complaints from \u003ca href=\"https://www.complaintboard.com/hallmark-channel-l12907.html\">an online complaint board\u003c/a> about the channel, one which said: “Please Hallmark … we r fed up with having the gay agenda crammed down our throats! You are one of the few channels we thought we would not have to deal with this issue!”\u003c/p>\n\u003cp>Late on Sunday, the Hallmark Channel released \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">a statement\u003c/a> apologizing for the ad’s removal, saying it “has been agonizing over this decision as we’ve seen the hurt it has unintentionally caused.” Taking the ad off the air was “the wrong decision,” the network said.\u003c/p>\n\u003cp>https://twitter.com/hallmarkchannel/status/1206422589725433857\u003c/p>\n\u003cp>“Hallmark will be working with GLAAD to better represent the LGBTQ community across our portfolio of brands. The Hallmark Channel will be reaching out to Zola to reestablish our partnership and reinstate the commercials,” \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">according to the statement\u003c/a>.\u003c/p>\n\u003cp>Hallmark originally said that it chose to remove the ads because the controversy was a distraction. “The debate surrounding these commercials on all sides was distracting from the purpose of our network, which is to provide entertainment value,” it said in a statement to the Associated Press by Molly Biwer, senior vice president for public affairs and communications.\u003c/p>\n\u003cp>“The Hallmark brand is never going to be divisive,” Biwer said in an interview with \u003ca href=\"https://apnews.com/7926c82c3a646ebe73c13d98d1c43bd7\">the AP\u003c/a>. “We don’t want to generate controversy, we’ve tried very hard to stay out of it … we just felt it was in the best interest of the brand to pull them and not continue to generate controversy.”\u003c/p>\n\u003cp>Zola submitted six ads to Hallmark, and all had been airing since Dec. 2. The company says Hallmark did not object to an ad in which a heterosexual couple was seen kissing, but flagged the four ads that included the lesbian couple. Zola has since pulled its other ads from the channel.\u003c/p>\n\u003cp>“The only difference between the commercials that were flagged and the ones that were approved was that the commercials that did not meet Hallmark’s standards included a lesbian couple kissing,” Zola’s chief marketing officer, Mike Chi, said in a statement. “All kisses, couples and marriages are equal celebrations of love and we will no longer be advertising on Hallmark.”\u003c/p>\n\u003cp>GLAAD President and CEO Sarah Kate Ellis called the decision hypocritical and discriminatory. “LGBTQ families are part of family programming,” she said in \u003ca href=\"https://deadline.com/2019/12/hallmark-channel-at-center-of-storm-over-ad-featuring-lesbian-brides-kissing-1202809545/\">a statement\u003c/a> to Deadline. “Advertisers on The Hallmark Channel should see this news and question whether they want to be associated with a network that chooses to bow to fringe anti-LGBTQ activist groups, which solely exist to harm LGBTQ families.”\u003c/p>\n\u003cp>Netflix, which has pushed hard into Hallmark’s market as a provider of feel-good holiday movies, threw shade at the company on Saturday.\u003c/p>\n\u003cp>“Titles Featuring Lesbians Joyfully Existing And Also It’s Christmas Can We Just Let People Love Who They Love,” it \u003ca href=\"https://twitter.com/netflix/status/1206012403126657024\">wrote \u003c/a>on Twitter, referencing Netflix’s hyper-specific content categories. The tweet was accompanied by a still that trumpeted its own approach to LGBTQ content: a scene of two girls kissing in the high school holiday movie \u003cem>Let It Snow\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/netflix/status/1206012403126657024\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Facing+Backlash%2C+Hallmark+Channel+Says+It+Will+%27Reinstate%27+Ad+Of+Lesbian+Brides+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hallmark pulled the ad and three others featuring the couple after pressure from One Million Moms, an organization which says the ad promotes homosexuality. The group, a division of the conservative American Family Association, \u003ca href=\"https://onemillionmoms.com/current-campaigns/hallmark-is-now-airing-lgbt-commercials-open-to-lgbt-movies/\">cited\u003c/a> complaints from \u003ca href=\"https://www.complaintboard.com/hallmark-channel-l12907.html\">an online complaint board\u003c/a> about the channel, one which said: “Please Hallmark … we r fed up with having the gay agenda crammed down our throats! You are one of the few channels we thought we would not have to deal with this issue!”\u003c/p>\n\u003cp>Late on Sunday, the Hallmark Channel released \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">a statement\u003c/a> apologizing for the ad’s removal, saying it “has been agonizing over this decision as we’ve seen the hurt it has unintentionally caused.” Taking the ad off the air was “the wrong decision,” the network said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Hallmark will be working with GLAAD to better represent the LGBTQ community across our portfolio of brands. The Hallmark Channel will be reaching out to Zola to reestablish our partnership and reinstate the commercials,” \u003ca href=\"https://corporate.hallmark.com/news-article/hallmark-affirms-its-commitment-to-diversity-and-inclusion/?fbclid=IwAR2H2vSNun-yM4fAq7Fyxxj038mXrpZdykCBt0kfP6KXIyBIo8z7N6TWtF8\">according to the statement\u003c/a>.\u003c/p>\n\u003cp>Hallmark originally said that it chose to remove the ads because the controversy was a distraction. “The debate surrounding these commercials on all sides was distracting from the purpose of our network, which is to provide entertainment value,” it said in a statement to the Associated Press by Molly Biwer, senior vice president for public affairs and communications.\u003c/p>\n\u003cp>“The Hallmark brand is never going to be divisive,” Biwer said in an interview with \u003ca href=\"https://apnews.com/7926c82c3a646ebe73c13d98d1c43bd7\">the AP\u003c/a>. “We don’t want to generate controversy, we’ve tried very hard to stay out of it … we just felt it was in the best interest of the brand to pull them and not continue to generate controversy.”\u003c/p>\n\u003cp>Zola submitted six ads to Hallmark, and all had been airing since Dec. 2. The company says Hallmark did not object to an ad in which a heterosexual couple was seen kissing, but flagged the four ads that included the lesbian couple. Zola has since pulled its other ads from the channel.\u003c/p>\n\u003cp>“The only difference between the commercials that were flagged and the ones that were approved was that the commercials that did not meet Hallmark’s standards included a lesbian couple kissing,” Zola’s chief marketing officer, Mike Chi, said in a statement. “All kisses, couples and marriages are equal celebrations of love and we will no longer be advertising on Hallmark.”\u003c/p>\n\u003cp>GLAAD President and CEO Sarah Kate Ellis called the decision hypocritical and discriminatory. “LGBTQ families are part of family programming,” she said in \u003ca href=\"https://deadline.com/2019/12/hallmark-channel-at-center-of-storm-over-ad-featuring-lesbian-brides-kissing-1202809545/\">a statement\u003c/a> to Deadline. “Advertisers on The Hallmark Channel should see this news and question whether they want to be associated with a network that chooses to bow to fringe anti-LGBTQ activist groups, which solely exist to harm LGBTQ families.”\u003c/p>\n\u003cp>Netflix, which has pushed hard into Hallmark’s market as a provider of feel-good holiday movies, threw shade at the company on Saturday.\u003c/p>\n\u003cp>“Titles Featuring Lesbians Joyfully Existing And Also It’s Christmas Can We Just Let People Love Who They Love,” it \u003ca href=\"https://twitter.com/netflix/status/1206012403126657024\">wrote \u003c/a>on Twitter, referencing Netflix’s hyper-specific content categories. The tweet was accompanied by a still that trumpeted its own approach to LGBTQ content: a scene of two girls kissing in the high school holiday movie \u003cem>Let It Snow\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "Proposed Ghost Ship TV Show From Chabon, Waldman Draws Ire [UPDATED]",
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"content": "\u003cp>\u003cem>\u003cstrong>[UPDATE, Dec. 14:\u003c/strong> The Ghost Ship TV series is off. In \u003ca href=\"https://twitter.com/ayeletw/status/1205960793361043457\" rel=\"noopener noreferrer\" target=\"_blank\">a Twitter thread\u003c/a> explaining the decision, Ayelet Waldman has announced that “At this time… we will not be proceeding, and will do our part to leave the families and survivors to their grief and their loss, in the fervent hope that someday they find not just comfort but also a measure of justice.”]\u003c/em>\u003c/p>\n\u003cp>On Dec. 10, Berkeley husband-wife author team \u003ca href=\"https://www.mercurynews.com/2019/12/10/berkeley-authors-chabon-waldman-sign-cbs-production-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Chabon and Ayelet Waldman\u003c/a> announced plans for a TV series about the Ghost Ship fire as part of a multi-year production deal they recently inked with CBS Television Studios.\u003c/p>\n\u003cp>Waldman told KQED in an email that the Ghost Ship project hasn’t yet been pitched or sold; she declined an in-person or phone interview, adding that the show is in early stages of development. She wrote that her children knew some of the fire victims, and that she envisions the show as “an indictment of the power and money that is destroying our communities, but also as a story about loss.”\u003c/p>\n\u003cp>Nonetheless, the news of a possible TV drama about the tragedy, which claimed 36 lives at an underground electronic music party in 2016, angered many of the victims’ loved ones still reeling from trauma and grappling with \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">evictions of unpermitted artist warehouses\u003c/a> that followed the tragedy. (In 2017, NBC drew ire for making an \u003ca href=\"https://www.kqed.org/arts/12835384/chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Chicago Fire\u003c/em>\u003c/a> based on Ghost Ship.)\u003c/p>\n\u003cp>“If you’re even thinking of making some type of TV show or something to profit off of this, before the words even come out of your mouth, you should have backing by the families in some capacity,” says Oakland resident Mark Dias. Two of his friends and coworkers, \u003ca href=\"https://www.kqed.org/arts/12452006/em-bohlka\" target=\"_blank\" rel=\"noopener noreferrer\">Em Bohlka\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/12447104/donna-kellogg\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Kellogg\u003c/a>, were among the victims.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">Just to clarify: The Ghost Ship project will be adapted by journalist Elizabeth Weil, based on her own reporting. \u003ca href=\"https://twitter.com/ayeletw?ref_src=twsrc%5Etfw\">@ayeletw\u003c/a> and I are producing it, under the terms of an overall agreement with CBS Studios that is not for any one story or project in particular.\u003c/p>\n\u003cp>— Michael Chabon (@michaelchabon) \u003ca href=\"https://twitter.com/michaelchabon/status/1204867478662201344?ref_src=twsrc%5Etfw\">December 11, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Dias was disturbed to learn, per Chabon’s tweet responding to criticism from 48 Hills editor Marke Bieschke, that the show will be based on \u003cem>New York Times Magazine\u003c/em> writer Elizabeth Weil’s reporting. Weil’s only coverage of the fire was a \u003ca href=\"https://www.nytimes.com/2018/12/12/magazine/oakland-warehouse-fire-ghost-ship.html\" target=\"_blank\" rel=\"noopener noreferrer\">sympathetic profile of Max Harris\u003c/a>, the defendant who was recently acquitted of 36 counts of manslaughter in a criminal trial. The story painted Harris as a pacifist who unwittingly found himself ensnared in the criminal justice system, and did not focus on the victims or survivors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That \u003cem>New York Times\u003c/em> profile was inaccurate in so many ways. It was a profile of a person that was told from one perspective, and none of it seemed like it was actually fact-checked against other people who knew him and were around him,” says Dias, calling the piece “out of touch.”\u003c/p>\n\u003cp>“I don’t know anybody that was directly affected by Ghost Ship that read that article and was like, ‘Oh yeah, he’s just some tragic soul that got mixed up in stuff,'” Dias says. [aside postid='arts_13865804']\u003c/p>\n\u003cp>“It’s not [Chabon and Waldman’s] story to tell,” says Chris Zaldua, a San Francisco musician and promoter who was friends with over a dozen of the fire victims. Zaldua’s record label, Left Hand Path, put out a posthumous release by \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a>, a.k.a. Nackt, called \u003cem>Private Property Created Crime\u003c/em>. For Zaldua and many other friends of the victims, the idea of a mainstream, commercial TV drama is at odds with the anti-capitalist beliefs of many of the artists who died in the fire.\u003c/p>\n\u003cp>“What makes it especially tricky is this kind of underground arts and music culture has always existed on the fringe,” Zaldua says, “and because it has never been about commercial success, there have been attempts to tell the story of underground culture in a commercial way and I think mostly they’ve all missed the boat.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">will just say it here. nobody in our small community wants to relive that tragedy on cbs of all places. thanks.\u003c/p>\n\u003cp>— Brandon Nickell (@brandon_nickell) \u003ca href=\"https://twitter.com/brandon_nickell/status/1205232190352588800?ref_src=twsrc%5Etfw\">December 12, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Oakland resident Michael Ferrari expressed similar skepticism. He says that the prevailing narrative of Ghost Ship already glossed over the complex lives and identities of the victims, including his friend \u003ca href=\"https://www.kqed.org/arts/12485542/nicole-denalda-renae\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda Nicole Renae\u003c/a>, whom he met through a network of squatters that occupied empty buildings. He fears a similar phenomenon will occur if the tragedy is given a TV treatment.\u003c/p>\n\u003cp>“TV is not the right medium,” Ferrari says. “A documentary would be first thing I would think of.”\u003c/p>\n\u003cp>“I think it should be called off, period,” says Lo O’Connor, an Oakland resident who also lost multiple friends in the fire. “There has been no break from the sort of spectacle it became, and there’s been no privacy. And I just feel like them saying, ‘We’re going to do this compassionately, we’re going to do this with people in mind,’ is just so empty. There’s nothing there because they’re not listening to the people who were actually affected by this experience, who are so clearly saying, ‘Don’t do this.'”\u003c/p>\n\u003cp>Waldman \u003ca href=\"https://twitter.com/ayeletw/status/1204908539895877632?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">responded on Twitter\u003c/a>, saying she’s open to feedback from the community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we make this show, I want to make sure it’s not remotely exploitative,” she wrote to KQED. “I would never ever do that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>[UPDATE, Dec. 14:\u003c/strong> The Ghost Ship TV series is off. In \u003ca href=\"https://twitter.com/ayeletw/status/1205960793361043457\" rel=\"noopener noreferrer\" target=\"_blank\">a Twitter thread\u003c/a> explaining the decision, Ayelet Waldman has announced that “At this time… we will not be proceeding, and will do our part to leave the families and survivors to their grief and their loss, in the fervent hope that someday they find not just comfort but also a measure of justice.”]\u003c/em>\u003c/p>\n\u003cp>On Dec. 10, Berkeley husband-wife author team \u003ca href=\"https://www.mercurynews.com/2019/12/10/berkeley-authors-chabon-waldman-sign-cbs-production-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Chabon and Ayelet Waldman\u003c/a> announced plans for a TV series about the Ghost Ship fire as part of a multi-year production deal they recently inked with CBS Television Studios.\u003c/p>\n\u003cp>Waldman told KQED in an email that the Ghost Ship project hasn’t yet been pitched or sold; she declined an in-person or phone interview, adding that the show is in early stages of development. She wrote that her children knew some of the fire victims, and that she envisions the show as “an indictment of the power and money that is destroying our communities, but also as a story about loss.”\u003c/p>\n\u003cp>Nonetheless, the news of a possible TV drama about the tragedy, which claimed 36 lives at an underground electronic music party in 2016, angered many of the victims’ loved ones still reeling from trauma and grappling with \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">evictions of unpermitted artist warehouses\u003c/a> that followed the tragedy. (In 2017, NBC drew ire for making an \u003ca href=\"https://www.kqed.org/arts/12835384/chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Chicago Fire\u003c/em>\u003c/a> based on Ghost Ship.)\u003c/p>\n\u003cp>“If you’re even thinking of making some type of TV show or something to profit off of this, before the words even come out of your mouth, you should have backing by the families in some capacity,” says Oakland resident Mark Dias. Two of his friends and coworkers, \u003ca href=\"https://www.kqed.org/arts/12452006/em-bohlka\" target=\"_blank\" rel=\"noopener noreferrer\">Em Bohlka\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/12447104/donna-kellogg\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Kellogg\u003c/a>, were among the victims.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">Just to clarify: The Ghost Ship project will be adapted by journalist Elizabeth Weil, based on her own reporting. \u003ca href=\"https://twitter.com/ayeletw?ref_src=twsrc%5Etfw\">@ayeletw\u003c/a> and I are producing it, under the terms of an overall agreement with CBS Studios that is not for any one story or project in particular.\u003c/p>\n\u003cp>— Michael Chabon (@michaelchabon) \u003ca href=\"https://twitter.com/michaelchabon/status/1204867478662201344?ref_src=twsrc%5Etfw\">December 11, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Dias was disturbed to learn, per Chabon’s tweet responding to criticism from 48 Hills editor Marke Bieschke, that the show will be based on \u003cem>New York Times Magazine\u003c/em> writer Elizabeth Weil’s reporting. Weil’s only coverage of the fire was a \u003ca href=\"https://www.nytimes.com/2018/12/12/magazine/oakland-warehouse-fire-ghost-ship.html\" target=\"_blank\" rel=\"noopener noreferrer\">sympathetic profile of Max Harris\u003c/a>, the defendant who was recently acquitted of 36 counts of manslaughter in a criminal trial. The story painted Harris as a pacifist who unwittingly found himself ensnared in the criminal justice system, and did not focus on the victims or survivors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not [Chabon and Waldman’s] story to tell,” says Chris Zaldua, a San Francisco musician and promoter who was friends with over a dozen of the fire victims. Zaldua’s record label, Left Hand Path, put out a posthumous release by \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a>, a.k.a. Nackt, called \u003cem>Private Property Created Crime\u003c/em>. For Zaldua and many other friends of the victims, the idea of a mainstream, commercial TV drama is at odds with the anti-capitalist beliefs of many of the artists who died in the fire.\u003c/p>\n\u003cp>“What makes it especially tricky is this kind of underground arts and music culture has always existed on the fringe,” Zaldua says, “and because it has never been about commercial success, there have been attempts to tell the story of underground culture in a commercial way and I think mostly they’ve all missed the boat.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">will just say it here. nobody in our small community wants to relive that tragedy on cbs of all places. thanks.\u003c/p>\n\u003cp>— Brandon Nickell (@brandon_nickell) \u003ca href=\"https://twitter.com/brandon_nickell/status/1205232190352588800?ref_src=twsrc%5Etfw\">December 12, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Oakland resident Michael Ferrari expressed similar skepticism. He says that the prevailing narrative of Ghost Ship already glossed over the complex lives and identities of the victims, including his friend \u003ca href=\"https://www.kqed.org/arts/12485542/nicole-denalda-renae\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda Nicole Renae\u003c/a>, whom he met through a network of squatters that occupied empty buildings. He fears a similar phenomenon will occur if the tragedy is given a TV treatment.\u003c/p>\n\u003cp>“TV is not the right medium,” Ferrari says. “A documentary would be first thing I would think of.”\u003c/p>\n\u003cp>“I think it should be called off, period,” says Lo O’Connor, an Oakland resident who also lost multiple friends in the fire. “There has been no break from the sort of spectacle it became, and there’s been no privacy. And I just feel like them saying, ‘We’re going to do this compassionately, we’re going to do this with people in mind,’ is just so empty. There’s nothing there because they’re not listening to the people who were actually affected by this experience, who are so clearly saying, ‘Don’t do this.'”\u003c/p>\n\u003cp>Waldman \u003ca href=\"https://twitter.com/ayeletw/status/1204908539895877632?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">responded on Twitter\u003c/a>, saying she’s open to feedback from the community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we make this show, I want to make sure it’s not remotely exploitative,” she wrote to KQED. “I would never ever do that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year's Golden Globe Nominations are Even More Ridiculous Than Usual",
"headTitle": "This Year’s Golden Globe Nominations are Even More Ridiculous Than Usual | KQED",
"content": "\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BHi-a1n8t7M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xi-1NchUqMA\u003c/p>\n\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iOpl44ewgYk\u003c/p>\n\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Golden Globe nominations are always odd, but this year they may be even odder than usual, particularly on the TV side. But it must be said: The Globes love a star, and now they love Netflix.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\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/BHi-a1n8t7M'\n title='//www.youtube.com/embed/BHi-a1n8t7M'\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>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\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/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\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/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\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/xi-1NchUqMA'\n title='//www.youtube.com/embed/xi-1NchUqMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\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/iOpl44ewgYk'\n title='//www.youtube.com/embed/iOpl44ewgYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nngz6cAKsaE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The 'American Idol' winner paid tribute to Mister Rogers as part of 'The Kelly Clarkson Show.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\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/Nngz6cAKsaE'\n title='//www.youtube.com/embed/Nngz6cAKsaE'\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": "\u003cp>For better and worse, class pride has always run a deep vein through British society, upstairs and down. Not so the United States, where the mere mention of social class often triggers strenuous manifestos about meritocracy and equal opportunity. Which may be why attempts to reproduce Michael Apted’s long-running \u003cem>Up\u003c/em> anthology—inquiring into the persistence of social hierarchy in post-World War II Britain—have so far failed this side of the Atlantic. For those who think \u003cem>Downton Abbey\u003c/em> is pretty much a documentary, the \u003cem>Up\u003c/em> series is the perfect antidote.\u003c/p>\n\u003cp>Beginning in 1964 with \u003cem>7 Up\u003c/em>, directed for British television by Paul Almond with Apted initially on board as a researcher, the series tracked a cross-section of 14 children from England’s famously rigid class system, with Apted checking in every seven years thereafter to document what and how they were doing. I’m roughly the same age and grew up lower middle class in London, so I’ve followed the series obsessively from soup to nuts. But you don’t have to have been as hooked as I on the anthology (now available as a boxed set) to find your way around the latest, \u003ca href=\"https://www.imdb.com/title/tt8929142/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>63 Up\u003c/em>\u003c/a>, which is studded with flashbacks to catch you up on how the group has fared since we first met them, mingling to frolic and brawl in a grim-looking adventure playground.\u003c/p>\n\u003cp>Inevitably a quiet tempo has settled on the hopes and dreams of these sexagenarians as they answer questions from Apted or go about their business with varying degrees of discomfort under cameras that have dogged them for decades. Some have retired; others contemplate their own mortality as they tell of parents passing away. One is seriously ill; another has died since \u003cem>56 Up\u003c/em>. Most seem content with what they have and express few regrets about what might have been. Luck, love, and loss, triumph and defeat, have beveled the edges of even the most pugnacious and intrepid.\u003c/p>\n\u003cp>Through every installment, Apted has peppered (some say, resentfully, pestered) the group with questions about whether England’s class divisions have grown more permeable. For some the short answer has become versions of “for the love of mike, Michael, quit asking, we are so much more than our station in life.” Apted deserves credit for including their protests.\u003c/p>\n\u003cp>The long answer to his probing is: It’s complicated. Take Tony, the charming, infuriating Cockney child of London’s East End, and the only Upper who frankly enjoys the limelight. As a teenager Tony predicted some of his future with astonishing accuracy, becoming first a jockey and then (“If I’m not good enough”) a cab-driver. Both jobs came to pass, but what Tony couldn’t dream of was that he would one day buy a handsome holiday home in Spain for his growing family and plan to build a resort there. What followed had more to do with the global economy than with his business chops, but today Tony, a proud husband, father, and grandfather who moonlights as a cabbie in TV crime shows, has switched his working-class-Tory affiliation for fear of Brexit, and may cast in his lot with the Green Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ugw7hUoJ0C0\u003c/p>\n\u003cp>At the other end of the social spectrum we revisit John, at 7 and 14 a snobby, upper-crust brat and easily the least likable of the \u003cem>Up\u003c/em> children. Now tweedy and balding, a considerably mellowed John (who also guessed right that he would become a barrister) is happily retiring to devote himself to charity work in the Balkans with his wife. Our early assumptions about John’s wealth and blue blood turn out to be mistaken, though there’s no doubt that his pricey education has given him more financial security than most of the Uppers.\u003c/p>\n\u003cp>Certainly John hasn’t had to struggle like Symon, the group’s only mixed-race member, who grew up in a children’s home with his friend Paul. At 7 Symon wanted to be a movie star; at 21 he worked a sausage factory assembly line. Without functioning parents, Symon has had a checkered life. What he and Paul (now settled in Australia) have achieved with the support of two good women is by any measure remarkable, as is the fact that they’ve stayed friends. And after some difficult years as a divorced single parent, the congenitally cheerful Sue—one of three East End women who, at 21, gave Apted a brisk mouthful for asking them only family-oriented questions—heads a career counseling unit at London University.\u003c/p>\n\u003cp>And what of Neil, at 7 a bonny lad in a duffel coat skipping down a suburban Liverpool street and by any measure the most beloved of viewers? At 28 we saw him homeless and roaming the British countryside. All I will say is that after a lifetime battling his biology and a less than idyllic childhood, at 63 Neil is not without faith, friends or resources.\u003c/p>\n\u003cp>Every chapter of the \u003cem>Up\u003c/em> series has seen its dropouts, and with the exception of Tony, those who remain express reservations with varying degrees of vehemence. For John, whose early arrogance so antagonized viewers, each new episode has brought “a little pill of poison.” Over time Apted’s questions have grown more personal, but he still queries them about whether they still believe Britain to be a class society. All agree that inequality persists, but they worry less for themselves than for their children, who face cuts to the country’s generous welfare state services, further concentration of wealth in the top tier, the decline of full-time jobs, and most of all the potential ravages of a looming Brexit deal.\u003c/p>\n\u003cp>Like Nick, the farm boy who became a professor in the United States, and Apted, who attended Cambridge University but now lives in America, I found far more career opportunities in the United States than I would have enjoyed in England despite a fancy education. Yet I’ve been struck by the nervousness that any discussion of social stratification inspires among students I’ve taught down the years in American universities. And I miss the stout class solidarity that, however diluted by upward mobility, remains strong among the English working class.\u003c/p>\n\u003cp>British cinema has always had a far more robust tradition than the U.S. of narrative films about the relations between the classes. Documentary offers the same satisfactions of family drama, the common hurts and losses endured and surmounted in movies by Mike Leigh or Ken Loach or the classic post-War Angry Young Men films, while permitting no facile class stereotypes. No one in \u003cem>63 Up\u003c/em> sounds like anybody above or below the salt in \u003cem>Downton Abbey\u003c/em>. We don’t see them gulping endless cups of industrial-strength tea or spending every waking hour down the pub or at the private club.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Apted narrows his focus to the personal more than the overtly political, he has also learned from the Uppers that there is no such thing as an ordinary life; that money and education may carry you far, but that accent and income bracket have little to do with intelligence, wit, or goodness of heart. What’s striking is not just the sturdy durability of family and community, but (camera or no camera) the fundamental decency of just about every participant in this long cultural experiment. Rich or poor, all have ended up devoting themselves to helping others. So ‘bye for now, dear Uppers, and with luck and longevity, see you at \u003cem>70 Up\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once+More%2C+Unto+The+Brits%3A+%2763+Up%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For better and worse, class pride has always run a deep vein through British society, upstairs and down. Not so the United States, where the mere mention of social class often triggers strenuous manifestos about meritocracy and equal opportunity. Which may be why attempts to reproduce Michael Apted’s long-running \u003cem>Up\u003c/em> anthology—inquiring into the persistence of social hierarchy in post-World War II Britain—have so far failed this side of the Atlantic. For those who think \u003cem>Downton Abbey\u003c/em> is pretty much a documentary, the \u003cem>Up\u003c/em> series is the perfect antidote.\u003c/p>\n\u003cp>Beginning in 1964 with \u003cem>7 Up\u003c/em>, directed for British television by Paul Almond with Apted initially on board as a researcher, the series tracked a cross-section of 14 children from England’s famously rigid class system, with Apted checking in every seven years thereafter to document what and how they were doing. I’m roughly the same age and grew up lower middle class in London, so I’ve followed the series obsessively from soup to nuts. But you don’t have to have been as hooked as I on the anthology (now available as a boxed set) to find your way around the latest, \u003ca href=\"https://www.imdb.com/title/tt8929142/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>63 Up\u003c/em>\u003c/a>, which is studded with flashbacks to catch you up on how the group has fared since we first met them, mingling to frolic and brawl in a grim-looking adventure playground.\u003c/p>\n\u003cp>Inevitably a quiet tempo has settled on the hopes and dreams of these sexagenarians as they answer questions from Apted or go about their business with varying degrees of discomfort under cameras that have dogged them for decades. Some have retired; others contemplate their own mortality as they tell of parents passing away. One is seriously ill; another has died since \u003cem>56 Up\u003c/em>. Most seem content with what they have and express few regrets about what might have been. Luck, love, and loss, triumph and defeat, have beveled the edges of even the most pugnacious and intrepid.\u003c/p>\n\u003cp>Through every installment, Apted has peppered (some say, resentfully, pestered) the group with questions about whether England’s class divisions have grown more permeable. For some the short answer has become versions of “for the love of mike, Michael, quit asking, we are so much more than our station in life.” Apted deserves credit for including their protests.\u003c/p>\n\u003cp>The long answer to his probing is: It’s complicated. Take Tony, the charming, infuriating Cockney child of London’s East End, and the only Upper who frankly enjoys the limelight. As a teenager Tony predicted some of his future with astonishing accuracy, becoming first a jockey and then (“If I’m not good enough”) a cab-driver. Both jobs came to pass, but what Tony couldn’t dream of was that he would one day buy a handsome holiday home in Spain for his growing family and plan to build a resort there. What followed had more to do with the global economy than with his business chops, but today Tony, a proud husband, father, and grandfather who moonlights as a cabbie in TV crime shows, has switched his working-class-Tory affiliation for fear of Brexit, and may cast in his lot with the Green Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ugw7hUoJ0C0'\n title='//www.youtube.com/embed/Ugw7hUoJ0C0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the other end of the social spectrum we revisit John, at 7 and 14 a snobby, upper-crust brat and easily the least likable of the \u003cem>Up\u003c/em> children. Now tweedy and balding, a considerably mellowed John (who also guessed right that he would become a barrister) is happily retiring to devote himself to charity work in the Balkans with his wife. Our early assumptions about John’s wealth and blue blood turn out to be mistaken, though there’s no doubt that his pricey education has given him more financial security than most of the Uppers.\u003c/p>\n\u003cp>Certainly John hasn’t had to struggle like Symon, the group’s only mixed-race member, who grew up in a children’s home with his friend Paul. At 7 Symon wanted to be a movie star; at 21 he worked a sausage factory assembly line. Without functioning parents, Symon has had a checkered life. What he and Paul (now settled in Australia) have achieved with the support of two good women is by any measure remarkable, as is the fact that they’ve stayed friends. And after some difficult years as a divorced single parent, the congenitally cheerful Sue—one of three East End women who, at 21, gave Apted a brisk mouthful for asking them only family-oriented questions—heads a career counseling unit at London University.\u003c/p>\n\u003cp>And what of Neil, at 7 a bonny lad in a duffel coat skipping down a suburban Liverpool street and by any measure the most beloved of viewers? At 28 we saw him homeless and roaming the British countryside. All I will say is that after a lifetime battling his biology and a less than idyllic childhood, at 63 Neil is not without faith, friends or resources.\u003c/p>\n\u003cp>Every chapter of the \u003cem>Up\u003c/em> series has seen its dropouts, and with the exception of Tony, those who remain express reservations with varying degrees of vehemence. For John, whose early arrogance so antagonized viewers, each new episode has brought “a little pill of poison.” Over time Apted’s questions have grown more personal, but he still queries them about whether they still believe Britain to be a class society. All agree that inequality persists, but they worry less for themselves than for their children, who face cuts to the country’s generous welfare state services, further concentration of wealth in the top tier, the decline of full-time jobs, and most of all the potential ravages of a looming Brexit deal.\u003c/p>\n\u003cp>Like Nick, the farm boy who became a professor in the United States, and Apted, who attended Cambridge University but now lives in America, I found far more career opportunities in the United States than I would have enjoyed in England despite a fancy education. Yet I’ve been struck by the nervousness that any discussion of social stratification inspires among students I’ve taught down the years in American universities. And I miss the stout class solidarity that, however diluted by upward mobility, remains strong among the English working class.\u003c/p>\n\u003cp>British cinema has always had a far more robust tradition than the U.S. of narrative films about the relations between the classes. Documentary offers the same satisfactions of family drama, the common hurts and losses endured and surmounted in movies by Mike Leigh or Ken Loach or the classic post-War Angry Young Men films, while permitting no facile class stereotypes. No one in \u003cem>63 Up\u003c/em> sounds like anybody above or below the salt in \u003cem>Downton Abbey\u003c/em>. We don’t see them gulping endless cups of industrial-strength tea or spending every waking hour down the pub or at the private club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Apted narrows his focus to the personal more than the overtly political, he has also learned from the Uppers that there is no such thing as an ordinary life; that money and education may carry you far, but that accent and income bracket have little to do with intelligence, wit, or goodness of heart. What’s striking is not just the sturdy durability of family and community, but (camera or no camera) the fundamental decency of just about every participant in this long cultural experiment. Rich or poor, all have ended up devoting themselves to helping others. So ‘bye for now, dear Uppers, and with luck and longevity, see you at \u003cem>70 Up\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once+More%2C+Unto+The+Brits%3A+%2763+Up%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For most, New Year’s Eve is a time of celebration—an evening to put on your dancing shoes and shake off the last year’s highs and lows in preparation for the one to come. So, on the surface, spending an evening with the driest host in late night might seem like rather an odd choice—especially since he’s also the one most likely to give you a civics lesson.\u003c/p>\n\u003cp>Oliver, though, is uniquely positioned to assist in dissecting the events of 2019—both good and bad—and do it in a way that is guaranteed to make you laugh. Just look at how his HBO show \u003ca href=\"https://www.hbo.com/last-week-tonight-with-john-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Week Tonight\u003c/em>\u003c/a> handled the end of 2018: a \u003cem>Fast and the Furious\u003c/em> parody involving Armie Hammer, terrible waxworks of U.S. presidents and a jockstrap once owned by Russell Crowe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TB_wx0dAPU0\u003c/p>\n\u003cp>So if what you’re seeking for the final hours of 2019 involves serious reflection, politics \u003cem>and\u003c/em> comedy with a hefty side of surreality, an evening with Oliver is definitely the way to go. If you’re lucky, maybe his old pals—like \u003ca href=\"https://www.youtube.com/watch?v=xa0oY7LQmtg\" target=\"_blank\" rel=\"noopener noreferrer\">Chiijohn\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i296CJMOZpk\" target=\"_blank\" rel=\"noopener noreferrer\">Catheter Cowboy\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=mCVomYlxILc\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Nutterbutter\u003c/a> the giant squirrel—might just show up to sing “Auld Lang Syne.” And if you still want to dance your way into 2020? Fear not: Oliver is sticking around for a couple of days to soothe even the worst 2019 hangovers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most, New Year’s Eve is a time of celebration—an evening to put on your dancing shoes and shake off the last year’s highs and lows in preparation for the one to come. So, on the surface, spending an evening with the driest host in late night might seem like rather an odd choice—especially since he’s also the one most likely to give you a civics lesson.\u003c/p>\n\u003cp>Oliver, though, is uniquely positioned to assist in dissecting the events of 2019—both good and bad—and do it in a way that is guaranteed to make you laugh. Just look at how his HBO show \u003ca href=\"https://www.hbo.com/last-week-tonight-with-john-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Week Tonight\u003c/em>\u003c/a> handled the end of 2018: a \u003cem>Fast and the Furious\u003c/em> parody involving Armie Hammer, terrible waxworks of U.S. presidents and a jockstrap once owned by Russell Crowe.\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/TB_wx0dAPU0'\n title='//www.youtube.com/embed/TB_wx0dAPU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if what you’re seeking for the final hours of 2019 involves serious reflection, politics \u003cem>and\u003c/em> comedy with a hefty side of surreality, an evening with Oliver is definitely the way to go. If you’re lucky, maybe his old pals—like \u003ca href=\"https://www.youtube.com/watch?v=xa0oY7LQmtg\" target=\"_blank\" rel=\"noopener noreferrer\">Chiijohn\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i296CJMOZpk\" target=\"_blank\" rel=\"noopener noreferrer\">Catheter Cowboy\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=mCVomYlxILc\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Nutterbutter\u003c/a> the giant squirrel—might just show up to sing “Auld Lang Syne.” And if you still want to dance your way into 2020? Fear not: Oliver is sticking around for a couple of days to soothe even the worst 2019 hangovers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s the 50th anniversary of \u003cem>Sesame Street\u003c/em>‘s debut this month, and to celebrate, we dug deep in our archives here at KQED—\u003cem>really\u003c/em> deep.\u003c/p>\n\u003cp>In 1969, it turns out, a special \u003cem>Sesame Street\u003c/em>-decorated Jeep was employed to promote the new children’s television show. Watch in our archival footage above as it drives through the streets of San Francisco, down Van Ness and along the Marina, turning heads and getting the word out about \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>Kids might not have known the show yet, but they certainly reacted to the colorful car driving though the city, crowding around with gleeful excitement. It was the beginning, clearly, of something special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "How Reality TV Became the Most Life-Threatening Genre in the World",
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"content": "\u003cp>Former \u003cem>American Idol\u003c/em> and \u003cem>Fear Factor\u003c/em> contestant, \u003ca href=\"https://en.wikipedia.org/wiki/Antonella_Barba\" target=\"_blank\" rel=\"noopener noreferrer\">Antonella Barba\u003c/a>, was sentenced to three years and nine months in prison this week after being caught with nearly two pounds of fentanyl. During the trial, \u003ca href=\"https://pagesix.com/2019/11/20/american-idol-star-antonella-barba-blames-show-for-drug-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">her attorney stated\u003c/a> that: “The \u003cem>American Idol\u003c/em> experience brought about a detrimental change in Ms. Barba’s life.”\u003c/p>\n\u003cp>It may not have altered the outcome of her trial, but there is ample evidence to suggest that participating in reality TV competitions can be terrible for your health. Substance abuse has proven to be a recurring issue. \u003ca href=\"https://en.wikipedia.org/wiki/Todd_Herzog\">\u003cem>Survivor China\u003c/em>\u003c/a> winner Todd Herzog reportedly didn’t drink before the show, but has since battled alcoholism; \u003cem>Big Brother\u003c/em> winner \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">Adam Jasinski\u003c/a> developed an addiction and was caught attempting to sell oxycodone; and \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">\u003cem>Storage Wars\u003c/em>‘ Mark Balelo\u003c/a> killed himself two days after being arrested for meth possession.\u003c/p>\n\u003cp>From \u003cem>America’s Next Top Model \u003c/em>alone\u003cem>,\u003c/em> \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Jael Strauss\u003c/a> developed a major meth habit; \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Lisa D’Amato\u003c/a> ended up on \u003cem>Celebrity Rehab\u003c/em> thanks to amphetamines, cocaine, mushrooms and alcohol dependency; and Renee Alway, six years after her elimination, \u003ca href=\"https://abcnews.go.com/Entertainment/renee-alway-americas-top-model-prison/story?id=28236042\">landed herself a 12-year prison\u003c/a> sentence for multiple burglaries, car thefts and weapons charges stemming from a heroin addiction. Alway says that after the show, “It was just closed door after closed door… I couldn’t get past the reality TV stigma that had been put on me… and then there’s the pressure of the fans. ‘Where are you?’ ‘What happened?’ It’s almost like a setup for failure.”\u003c/p>\n\u003cp>https://youtu.be/qy3c4dNzEJ0?t=203\u003c/p>\n\u003cp>Reality TV is now such a ubiquitous genre, it’s easy to forget that, especially for regular people with zero media training, the whirlwind of having one’s life put under a microscope and dissected on social media can be far more than anxiety-inducing—it can be literally life-endangering. The list of post-reality TV suicides is sobering, to say the least.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two Season 14 \u003cem>Bachelor\u003c/em> contestants, \u003ca href=\"https://bachelor-nation.fandom.com/wiki/Alexa_McAllister\">Alexa McAllister\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gia_Allemand\">Gia Allemand\u003c/a>, committed suicide after the show, as did \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/bachelorette-contestant-julien-hugs-suicide-note-read-aloud-at-funeral-20101311/\">Julien Hug\u003c/a> who appeared on \u003cem>The Bachelorette\u003c/em> in 2009. \u003cem>Kitchen Nightmares’\u003c/em> \u003ca href=\"https://www.imdb.com/news/ni4642572\">Joseph Cerniglia\u003c/a> jumped off a bridge, while \u003cem>Hell’s Kitchen\u003c/em> contestant \u003ca href=\"https://hellskitchen.fandom.com/wiki/Rachel_Brown\">Rachel Brown\u003c/a> and \u003cem>MasterChef\u003c/em>’s \u003ca href=\"https://www.cnn.com/2013/10/13/showbiz/masterchef-joshua-marks-suicide/index.html\">Joshua Marks\u003c/a> shot themselves. \u003cem>The Voice\u003c/em>’s \u003ca href=\"https://woldcnews.com/1515526/anthony-riley-former-voice-contestant-dies-of-apparent-suicide/\">Anthony Riley\u003c/a> and \u003cem>X Factor\u003c/em> contestant \u003ca href=\"https://en.wikipedia.org/wiki/Simone_Battle\">Simone Battle\u003c/a> both hanged themselves. \u003ca href=\"https://www.youtube.com/watch?v=qtOesRewO9c\">Paula Goodspeed\u003c/a> took an overdose in front of Paula Abdul’s house after being rejected from \u003cem>American Idol\u003c/em>. And before \u003cem>Real Housewives of Beverly Hills\u003c/em>‘ \u003ca href=\"https://www.eonline.com/fr/news/258422/timeline-of-a-tragedy-real-housewives-russell-armstrong-was-always-depressed\">Russell Armstrong\u003c/a> killed himself in 2011, he said that being on TV “took our manageable problems and made them worse.”\u003c/p>\n\u003cp>In the UK, \u003cem>Love Island\u003c/em> contestants have been the subject of much concern, after two, \u003ca href=\"https://en.wikipedia.org/wikihttps://en.wikipedia.org/wiki/Mike_Thalassitis/Mike_Thalassitis\">Mike Thalassitis\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sophie_Gradon\">Sophie Gradon\u003c/a>, took their own lives. Gradon’s boyfriend \u003ca href=\"https://www.bbc.com/news/uk-england-tyne-47623086\">Aaron Armstrong\u003c/a> followed suit less than three weeks after she died. And he’s not the only spouse to have suffered—after appearing on \u003cem>Megan Wants A Millionaire\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Jasmine_Fiore\">Ryan Jenkins\u003c/a> murdered his girlfriend, Jasmine Fiore, then hanged himself.\u003c/p>\n\u003cp>Serious issues were established decades ago around the well-being of individuals who appear on reality TV. In 1995, 32-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Scott_Amedure\">Scott Amedure\u003c/a> was murdered after sharing fantasies about his friend Jonathan Schmitz on \u003cem>The Jenny Jones Show. \u003c/em>Schmitz had been told that he was there to meet a secret admirer, whom he had assumed would be a woman. Three days after the friends appeared on the show, Schmitz killed Amedure with a shotgun.\u003c/p>\n\u003cp>Five years later, Nancy Campbell-Panitz was beaten to death by her ex-husband, Ralf Panitz, after the pair appeared in a \u003cem>Jerry Springer\u003c/em> episode titled “Secret Mistresses Confronted.” Panitz was convicted of \u003ca href=\"https://www.cbsnews.com/news/jerry-springer-murder-conviction/\">second degree murder\u003c/a>. That same year, the talk show \u003ca href=\"https://en.wikipedia.org/wiki/Forgive_or_Forget\">\u003cem>Forgive Or Forget\u003c/em>\u003c/a>, hosted by Robin Givens, featured a 17-year-old named \u003ca href=\"https://www.theguardian.com/g2/story/0,3604,347943,00.html\">Charlene Burkey\u003c/a>, who was pregnant with her third child. Her boyfriend Larry Kieper appeared alongside her, skipping out on a court date related to weapons possession charges to do so. The night before the show aired, Burkey was shot twice in the head. Two friends of Kieper’s were arrested and charged with her murder.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EvUzzbzFNc\u003c/p>\n\u003cp>Both the families of Amedure and Campbell-Panitz sued the TV networks responsible for \u003cem>Jones\u003c/em> and \u003cem>Springer\u003c/em>. But after a Court of Appeals verdict overturned a $30 million dollar award to Scott Amedure’s family, stating that TV shows have no legal duty to protect their guests, Campbell-Panitz’s son dropped his lawsuit. Both shows continued for many years, and the controversial format was adopted by other countries around the world.\u003c/p>\n\u003cp>Just this year, in May, a 63-year-old man named \u003ca href=\"https://www.yahoo.com/entertainment/talk-show-guest-died-by-suicide-after-failing-liedetector-test-onair-and-being-dumped-by-his-girlfriend-123837728.html\">Steve Dymond took his own life\u003c/a> a week after appearing on Britain’s premier tabloid talk show. During his appearance on \u003cem>The Jeremy Kyle Show \u003c/em>(somewhere in tone between \u003cem>Jerry Springer\u003c/em> and \u003cem>Dr. Phil\u003c/em>)\u003cem>, \u003c/em>Dymond had been given a polygraph test that concluded that he had been unfaithful to his fiancé. She promptly broke up with him. During the highly-publicized inquest into his death, it was revealed that two hours before being sent home from the studio, Dymond told a researcher for the show that \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/07/jeremy-kyle-show-guest-said-i-wish-i-was-dead-coroner-told\" target=\"_blank\" rel=\"noopener noreferrer\">he wished he was dead\u003c/a>.\u003c/p>\n\u003cp>In response to the furor following Dymond’s death, Carla Wright, an ex-TV researcher on \u003cem>The Trisha Goddard Show—\u003c/em>which ran from 1998 to 2009 in the UK, and between 2012 and 2014 in the US—\u003ca href=\"https://www.theguardian.com/commentisfree/2019/may/15/jeremy-kyle-cruelty-guests-death-show-tv\">admitted in \u003cem>The Guardian\u003c/em>\u003c/a> that little regard was given to the welfare of the guests on these kinds of shows. “We pounced on them, with their lives in crisis,” she wrote, “and told them this was a chance to make positive change… For compliance, we would do a mental health check asking about medication, diagnosis and suicide attempts. Depression and anxiety were okay, as far as we were concerned.”\u003c/p>\n\u003cp>One \u003cem>Love Island\u003c/em> contestant, \u003ca href=\"https://twitter.com/_domlever?lang=en\">Dom Lever\u003c/a>, confirmed on Twitter after his time on the show that, “You get a psychological evaluation before and after you go on the show, but hands down, once you are done on the show, you don’t get any support unless you’re number one.”\u003c/p>\n\u003cp>As the public chews up and spits out contestant after contestant on a neverending assembly line of shows, it’s increasingly apparent that not enough is being done to safeguard the health and safety of those participating. These shows have always been guilty pleasures for most of us. But what happens when the guilt starts to outweigh the pleasure?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the networks expect us to keep tuning in, they need to do far more to protect the people that appear on them. Frankly, that should have started decades ago.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former \u003cem>American Idol\u003c/em> and \u003cem>Fear Factor\u003c/em> contestant, \u003ca href=\"https://en.wikipedia.org/wiki/Antonella_Barba\" target=\"_blank\" rel=\"noopener noreferrer\">Antonella Barba\u003c/a>, was sentenced to three years and nine months in prison this week after being caught with nearly two pounds of fentanyl. During the trial, \u003ca href=\"https://pagesix.com/2019/11/20/american-idol-star-antonella-barba-blames-show-for-drug-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">her attorney stated\u003c/a> that: “The \u003cem>American Idol\u003c/em> experience brought about a detrimental change in Ms. Barba’s life.”\u003c/p>\n\u003cp>It may not have altered the outcome of her trial, but there is ample evidence to suggest that participating in reality TV competitions can be terrible for your health. Substance abuse has proven to be a recurring issue. \u003ca href=\"https://en.wikipedia.org/wiki/Todd_Herzog\">\u003cem>Survivor China\u003c/em>\u003c/a> winner Todd Herzog reportedly didn’t drink before the show, but has since battled alcoholism; \u003cem>Big Brother\u003c/em> winner \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">Adam Jasinski\u003c/a> developed an addiction and was caught attempting to sell oxycodone; and \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">\u003cem>Storage Wars\u003c/em>‘ Mark Balelo\u003c/a> killed himself two days after being arrested for meth possession.\u003c/p>\n\u003cp>From \u003cem>America’s Next Top Model \u003c/em>alone\u003cem>,\u003c/em> \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Jael Strauss\u003c/a> developed a major meth habit; \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Lisa D’Amato\u003c/a> ended up on \u003cem>Celebrity Rehab\u003c/em> thanks to amphetamines, cocaine, mushrooms and alcohol dependency; and Renee Alway, six years after her elimination, \u003ca href=\"https://abcnews.go.com/Entertainment/renee-alway-americas-top-model-prison/story?id=28236042\">landed herself a 12-year prison\u003c/a> sentence for multiple burglaries, car thefts and weapons charges stemming from a heroin addiction. Alway says that after the show, “It was just closed door after closed door… I couldn’t get past the reality TV stigma that had been put on me… and then there’s the pressure of the fans. ‘Where are you?’ ‘What happened?’ It’s almost like a setup for failure.”\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/qy3c4dNzEJ0'\n title='//www.youtube.com/embed/qy3c4dNzEJ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reality TV is now such a ubiquitous genre, it’s easy to forget that, especially for regular people with zero media training, the whirlwind of having one’s life put under a microscope and dissected on social media can be far more than anxiety-inducing—it can be literally life-endangering. The list of post-reality TV suicides is sobering, to say the least.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two Season 14 \u003cem>Bachelor\u003c/em> contestants, \u003ca href=\"https://bachelor-nation.fandom.com/wiki/Alexa_McAllister\">Alexa McAllister\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gia_Allemand\">Gia Allemand\u003c/a>, committed suicide after the show, as did \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/bachelorette-contestant-julien-hugs-suicide-note-read-aloud-at-funeral-20101311/\">Julien Hug\u003c/a> who appeared on \u003cem>The Bachelorette\u003c/em> in 2009. \u003cem>Kitchen Nightmares’\u003c/em> \u003ca href=\"https://www.imdb.com/news/ni4642572\">Joseph Cerniglia\u003c/a> jumped off a bridge, while \u003cem>Hell’s Kitchen\u003c/em> contestant \u003ca href=\"https://hellskitchen.fandom.com/wiki/Rachel_Brown\">Rachel Brown\u003c/a> and \u003cem>MasterChef\u003c/em>’s \u003ca href=\"https://www.cnn.com/2013/10/13/showbiz/masterchef-joshua-marks-suicide/index.html\">Joshua Marks\u003c/a> shot themselves. \u003cem>The Voice\u003c/em>’s \u003ca href=\"https://woldcnews.com/1515526/anthony-riley-former-voice-contestant-dies-of-apparent-suicide/\">Anthony Riley\u003c/a> and \u003cem>X Factor\u003c/em> contestant \u003ca href=\"https://en.wikipedia.org/wiki/Simone_Battle\">Simone Battle\u003c/a> both hanged themselves. \u003ca href=\"https://www.youtube.com/watch?v=qtOesRewO9c\">Paula Goodspeed\u003c/a> took an overdose in front of Paula Abdul’s house after being rejected from \u003cem>American Idol\u003c/em>. And before \u003cem>Real Housewives of Beverly Hills\u003c/em>‘ \u003ca href=\"https://www.eonline.com/fr/news/258422/timeline-of-a-tragedy-real-housewives-russell-armstrong-was-always-depressed\">Russell Armstrong\u003c/a> killed himself in 2011, he said that being on TV “took our manageable problems and made them worse.”\u003c/p>\n\u003cp>In the UK, \u003cem>Love Island\u003c/em> contestants have been the subject of much concern, after two, \u003ca href=\"https://en.wikipedia.org/wikihttps://en.wikipedia.org/wiki/Mike_Thalassitis/Mike_Thalassitis\">Mike Thalassitis\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sophie_Gradon\">Sophie Gradon\u003c/a>, took their own lives. Gradon’s boyfriend \u003ca href=\"https://www.bbc.com/news/uk-england-tyne-47623086\">Aaron Armstrong\u003c/a> followed suit less than three weeks after she died. And he’s not the only spouse to have suffered—after appearing on \u003cem>Megan Wants A Millionaire\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Jasmine_Fiore\">Ryan Jenkins\u003c/a> murdered his girlfriend, Jasmine Fiore, then hanged himself.\u003c/p>\n\u003cp>Serious issues were established decades ago around the well-being of individuals who appear on reality TV. In 1995, 32-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Scott_Amedure\">Scott Amedure\u003c/a> was murdered after sharing fantasies about his friend Jonathan Schmitz on \u003cem>The Jenny Jones Show. \u003c/em>Schmitz had been told that he was there to meet a secret admirer, whom he had assumed would be a woman. Three days after the friends appeared on the show, Schmitz killed Amedure with a shotgun.\u003c/p>\n\u003cp>Five years later, Nancy Campbell-Panitz was beaten to death by her ex-husband, Ralf Panitz, after the pair appeared in a \u003cem>Jerry Springer\u003c/em> episode titled “Secret Mistresses Confronted.” Panitz was convicted of \u003ca href=\"https://www.cbsnews.com/news/jerry-springer-murder-conviction/\">second degree murder\u003c/a>. That same year, the talk show \u003ca href=\"https://en.wikipedia.org/wiki/Forgive_or_Forget\">\u003cem>Forgive Or Forget\u003c/em>\u003c/a>, hosted by Robin Givens, featured a 17-year-old named \u003ca href=\"https://www.theguardian.com/g2/story/0,3604,347943,00.html\">Charlene Burkey\u003c/a>, who was pregnant with her third child. Her boyfriend Larry Kieper appeared alongside her, skipping out on a court date related to weapons possession charges to do so. The night before the show aired, Burkey was shot twice in the head. Two friends of Kieper’s were arrested and charged with her murder.\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/3EvUzzbzFNc'\n title='//www.youtube.com/embed/3EvUzzbzFNc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both the families of Amedure and Campbell-Panitz sued the TV networks responsible for \u003cem>Jones\u003c/em> and \u003cem>Springer\u003c/em>. But after a Court of Appeals verdict overturned a $30 million dollar award to Scott Amedure’s family, stating that TV shows have no legal duty to protect their guests, Campbell-Panitz’s son dropped his lawsuit. Both shows continued for many years, and the controversial format was adopted by other countries around the world.\u003c/p>\n\u003cp>Just this year, in May, a 63-year-old man named \u003ca href=\"https://www.yahoo.com/entertainment/talk-show-guest-died-by-suicide-after-failing-liedetector-test-onair-and-being-dumped-by-his-girlfriend-123837728.html\">Steve Dymond took his own life\u003c/a> a week after appearing on Britain’s premier tabloid talk show. During his appearance on \u003cem>The Jeremy Kyle Show \u003c/em>(somewhere in tone between \u003cem>Jerry Springer\u003c/em> and \u003cem>Dr. Phil\u003c/em>)\u003cem>, \u003c/em>Dymond had been given a polygraph test that concluded that he had been unfaithful to his fiancé. She promptly broke up with him. During the highly-publicized inquest into his death, it was revealed that two hours before being sent home from the studio, Dymond told a researcher for the show that \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/07/jeremy-kyle-show-guest-said-i-wish-i-was-dead-coroner-told\" target=\"_blank\" rel=\"noopener noreferrer\">he wished he was dead\u003c/a>.\u003c/p>\n\u003cp>In response to the furor following Dymond’s death, Carla Wright, an ex-TV researcher on \u003cem>The Trisha Goddard Show—\u003c/em>which ran from 1998 to 2009 in the UK, and between 2012 and 2014 in the US—\u003ca href=\"https://www.theguardian.com/commentisfree/2019/may/15/jeremy-kyle-cruelty-guests-death-show-tv\">admitted in \u003cem>The Guardian\u003c/em>\u003c/a> that little regard was given to the welfare of the guests on these kinds of shows. “We pounced on them, with their lives in crisis,” she wrote, “and told them this was a chance to make positive change… For compliance, we would do a mental health check asking about medication, diagnosis and suicide attempts. Depression and anxiety were okay, as far as we were concerned.”\u003c/p>\n\u003cp>One \u003cem>Love Island\u003c/em> contestant, \u003ca href=\"https://twitter.com/_domlever?lang=en\">Dom Lever\u003c/a>, confirmed on Twitter after his time on the show that, “You get a psychological evaluation before and after you go on the show, but hands down, once you are done on the show, you don’t get any support unless you’re number one.”\u003c/p>\n\u003cp>As the public chews up and spits out contestant after contestant on a neverending assembly line of shows, it’s increasingly apparent that not enough is being done to safeguard the health and safety of those participating. These shows have always been guilty pleasures for most of us. But what happens when the guilt starts to outweigh the pleasure?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the networks expect us to keep tuning in, they need to do far more to protect the people that appear on them. Frankly, that should have started decades ago.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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