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"content": "\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T2e7e2Hpb7I\u003c/p>\n\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=inoeW5BZJvg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xRogpFFytU8\u003c/p>\n\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKCdV20zLMs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\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/xRogpFFytU8'\n title='//www.youtube.com/embed/xRogpFFytU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\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/dKCdV20zLMs'\n title='//www.youtube.com/embed/dKCdV20zLMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "O Come, All Ye Faithful, to the Church of Nick Offerman",
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"content": "\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The actor and comic talks with KQED about political comedy, his wife's brilliant mind, and, of course, the enduring appeal of Ron Swanson.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Lasting Legacy of Bob Ross and His Colorful World of 'Happy Accidents'",
"headTitle": "The Lasting Legacy of Bob Ross and His Colorful World of ‘Happy Accidents’ | KQED",
"content": "\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1koOWsj70d4\u003c/p>\n\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maureen Pao edited the Web story. Matt Ozug edited the audio story.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Lasting+Legacy+Of+Bob+Ross+And+His+Colorful+World+Of+%27Happy+Accidents%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The bushy-haired former Air Force sergeant with the soothing voice rose to fame in the 1980s and '90s with his PBS show 'The Joy of Painting'. Bob Ross died in 1995, but his popularity endures.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Friday afternoon, Sandra Hill leads a painting class at an arts center nestled amid rolling Virginia hills, about an hour and a half drive northwest of Washington, D.C.\u003c/p>\n\u003cp>Each of the 10 adult students has a canvas balanced on an easel in front of them. They’re dabbing paintbrushes loaded with dark green paint along the edge of a lake, the beginnings of a glowing sunset in the background.\u003c/p>\n\u003cp>“And think tree! Don’t just go tap, tap, tap any old place. Remember, trees have depth to them!” she reminds the class.\u003c/p>\n\u003cp>But this is no ordinary painting lesson: The students have come to Purcellville, Va., from as far away as Texas to learn to paint in the distinctive style and palette of Bob Ross, the \u003ca href=\"https://www.orlandosentinel.com/news/os-xpm-1990-07-07-9007060122-story.html\">Air Force sergeant-turned-painter\u003c/a> who rose to public media fame in the 1980s and ’90s with his TV show \u003cem>The Joy of Painting\u003c/em>. Over 31 seasons and more than 400 episodes, Ross became known for his hushed, soothing tones, big bushy hair, vivid landscapes and “happy little trees.”\u003c/p>\n\u003cp>“It’s almost spiritual,” Cliff Nolan, a painter from nearby Manassas, Va., says about being in the class at the \u003ca href=\"http://www.franklinparkartscenter.org/\">Franklin Park Arts Center\u003c/a>. In a room lined with 24 original Ross paintings, Nolan pulls a laminated photo book out of his pocket. It’s filled with pictures of paintings inspired by Ross’ work, using the wet-on-wet painting technique he used.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bob is just wonderful,” Nolan says with a sigh. “Or, was.”\u003c/p>\n\u003cp>Ross died from cancer in 1995 at age 52. But the popularity of this quirky pop icon continues to soar, among fans old and new.\u003c/p>\n\u003cp>\u003cem>The Joy of Painting\u003c/em> is broadcast every day on some PBS stations across the country and is available on-demand to millions of viewers on Netflix and YouTube. There are Bob Ross bobbleheads, board games, underwear and coffee mugs. The Smithsonian’s National Museum Of American History recently acquired four of his paintings for their permanent collection. And Ross—a throwback to the pre-Internet era—has a surprisingly huge following \u003ca href=\"https://www.twitch.tv/bobross\">on Twitch\u003c/a>, the streaming platform best known for video games, where fans can comment in real-time while he paints.\u003c/p>\n\u003cp>Ross left behind thousands of paintings, which \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">rarely go on display\u003c/a>. So when the current solo exhibition opened at the Franklin Park Arts Center, fans flocked to the small dairy-barn-turned-gallery.\u003c/p>\n\u003cp>Elizabeth Bracey, the center’s director, worked with Bob Ross, Inc., to put the show together. Based nearby in Herndon, Va., the company—which Ross started with his business partners Annette and Walter Kowalski—owns most of Ross’ paintings.\u003c/p>\n\u003cp>“We knew it was going to be popular, but not like this,” Bracey says.\u003c/p>\n\u003cfigure id=\"attachment_13867854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png\" alt='Left: Cliff Nolan holds a book of his own paintings that he has done in the \"Bob Ross\" style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class.' width=\"800\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-800x293.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-160x59.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1020x374.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85-1200x440.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/photo_composite_bob_ross_mshaw_custom-3f1e7381c79ce383ac2aedc925178624dced9427-s2400-c85.png 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: Cliff Nolan holds a book of his own paintings that he has done in the “Bob Ross” style. Right: Sara Monteleone, wears a Bob Ross wig while she follows along with Sandra Hill, a Certified Ross Instructor, during the recent painting class. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thousands of people have visited the show since it opened last month. Bracey says she’s expecting at least 15,000 by the time the exhibition closes on Oct. 15. That’s half the number of visitors the art center usually sees in an entire year. It’s become a kind of unexpected pilgrimage for fans, from all over and all walks of life.\u003c/p>\n\u003cp>“Little kids starting at like 4, all the way to grandmas and grandpas and every ethnicity, you know, every state. It’s everybody,” Bracey says. “Everybody loves him, [he] resonates with [everybody] in some way.”\u003c/p>\n\u003cp>The show is a wonderland of colorful sunsets, forests tucked into snowy mountains, and waves crashing against rocky cliffs, with paintings named things like \u003cem>Sunset Aglow\u003c/em>, \u003cem>Home Before Nightfall\u003c/em> and \u003cem>Daisies at Dawn\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg\" alt=\"'Happy Accidents: An Exhibit of Bob Ross Paintings' will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-02_custom-daaac53f0d8f1b36d322404ab5f879781855975f-s1000-c85.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happy Accidents: An Exhibit of Bob Ross Paintings’ will be on display the Franklin Parks Art Center, in Purcellville, Va., through Oct. 15. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to think that there are places like this that still exist in the world, that don’t have cell phone towers and high rises and things like that. It just seems like such an amazing magical place,” Bracey says, staring at a painting called \u003ca href=\"https://www.youtube.com/watch?v=hEyR2FDp-00\">Splendor of Autumn\u003cem>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There’s a lake with towering birch trees in the foreground, and bold pops of fall foliage framing the canvas. And hung next to it, is a quote, something he said during the episode while he was painting it: “If painting does nothing else for you, it should make you happy.”\u003c/p>\n\u003cp>The whole exhibition is like this, the paintings and quotes sharing the spotlight, side by side. Even when he was alive, Ross’ draw wasn’t just his paintings, it was also the way he talked.\u003c/p>\n\u003cblockquote>\u003cp>Maybe in our world, there lives a big old cloud right up here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, just let them have fun.\u003c/p>\n\u003cp>— \u003ca href=\"https://www.youtube.com/watch?v=gMEZp47VKC0\">The Joy Of Painting, Season 26, Episode 12 “Sunset Aglow”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>Any person who has ever wanted to put a dream on canvas, you can do it. You don’t have to go to school half your life, you don’t have to know Leonardo da Vinci as a personal friend.\u003c/p>\n\u003cp>—\u003ca href=\"https://www.youtube.com/watch?v=Tnb2cXKKuWM\"> The Joy Of Painting, Season 29, Episode 7 “Cypress Creek”\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Bob Ross made viewers want to lean in closer to the screen so they didn’t miss anything. He could be wonderfully weird and deeply emotional.\u003c/p>\n\u003cp>Jerry Saltz, senior art critic at \u003cem>New York\u003c/em> magazine, says that was one of the things that made Ross great. “Once you set eyes on that guy you’re kinda locked in for 25 minutes,” he says, referring to the length of an episode. “It’s you alone in your dorky studio in your apartment, wearing an old shirt, and just working.”\u003c/p>\n\u003cp>Ross captivated and connected with audiences, but he did much more.\u003c/p>\n\u003cp>“People think that he’s just kitsch and cute and a little Buddha and fun happy little accidents … but Bob Ross breaks down painting into its component parts,” he says.\u003c/p>\n\u003cp>There was no irony, and the closest thing to a gimmick was \u003ca href=\"https://www.youtube.com/watch?v=xpNrn0_97LM\">a pet squirrel named Peapod\u003c/a> he would occasionally bottle feed on screen. Instead, he demystified the process for viewers in each episode, creating one landscape, from start to finish: a blank canvas transformed before their eyes.\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/1koOWsj70d4'\n title='//www.youtube.com/embed/1koOWsj70d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“And then he adds a beautiful bit at the end: You can do this, too,” Saltz says. “You have to banish self-doubt. And at the end of the session, it’s done. And he’s basically saying, ‘And then we’ll do another happy little accident tomorrow.'”\u003c/p>\n\u003cp>Ross didn’t want people to buy his paintings—in fact, he didn’t sell paintings once he started his television show—he wanted viewers to create their own. As long as they just tried to paint, Ross said, it will be right, no matter what.\u003c/p>\n\u003cp>That Bob Ross attitude lives on at the painting class in Purcellville, where the landscapes lining the walls practically whisper encouragement to the budding artists.\u003c/p>\n\u003cp>The students all have palettes set out with Ross’ signature colors—titanium white, alizarin crimson, midnight black. Three women in the back of the class are wearing big, bushy Bob Ross-style wigs. The soothing sound of paintbrush on canvas, another J\u003cem>oy of Painting\u003c/em> signature, fills the room.\u003c/p>\n\u003cp>Susan Rossi sits at the front of the class. She flew all the way from Texas to attend. She’s fussing with the row of trees along the lakeshore in her painting, dabbing them with a look of concern.\u003c/p>\n\u003cp>“Oh no, no don’t you worry,” Hill, the instructor, says, coming up behind her. “There’s no mistakes here, we can fix that. These are happy accidents!”\u003c/p>\n\u003cp>Rossi, 70, started learning to paint from Ross’ TV show after a stroke four years ago left her partially paralyzed and unable to work. \u003cem>The Joy of Painting \u003c/em>had a profound effect on her.\u003c/p>\n\u003cp>“It brought something out of me I didn’t know was in there,” Rossi says with a smile. “You think, wow, no limits! You can move clouds, you can change mountains. I guess that’s what you learn from Bob Ross. Don’t put limits on your life.”\u003c/p>\n\u003cfigure id=\"attachment_13867848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg\" alt=\"Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2019-09-20-bobross-mshaw-final6-554bbf4307619347c363b825833a0c8259835a7d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susan Rossi traveled from Texas to participate in the class and see the exhibit. Rossi has used Bob Ross as a type of therapy after suffering from a stroke four years ago. \u003ccite>(Mhari Shaw/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ross himself was surprisingly philosophical during the show, often casually whispering big ideas to viewers before returning to his instruction. These sprinkles of wisdom have lived on \u003ca href=\"https://www.amazon.com/Happy-Little-Accidents-Wisdom-Ross/dp/0762462787\">in quote books\u003c/a> and internet memes.\u003c/p>\n\u003cp>One that pops up often is from an episode that Ross taped in 1992, after his wife, Jane, died from cancer. In the episode, he’s painting a scene with a lake resting between two majestic mountains. He loads his brush up with a dark mixture of paint and starts to dab it all across the bottom of the mountains.\u003c/p>\n\u003cp>Don’t worry, he tells viewers, I’m only adding this dark for contrast.\u003c/p>\n\u003cp>“Gotta have dark. Gotta have opposites, dark and light, light and dark, continually in painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing,” he practically whispers, his brush tapping rhythmically on the canvas. “It’s like in life. Gotta have a little sadness once in a while so you know when the good times come.”\u003c/p>\n\u003cp>He looks at the camera and quietly says, “I’m waiting on the good times now.”\u003c/p>\n\u003cp>Then he turns back to his painting, instructing viewers on the next step.\u003c/p>\n\u003cp>Maybe what’s made Bob Ross so everlasting is really that simple. He reminds people that the dark is there for a reason, and helps them find the light when they need it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Conan O'Brien on the Joys of Podcasting, Late Night TV and Going to Therapy",
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"content": "\u003cp>Conan O’Brien has been hosting late-night TV shows for 26 years—longer than anyone else currently on the air. So when a colleague suggested he start a podcast, he initially balked.\u003c/p>\n\u003cp>“My initial reaction was, ‘Why would I do a podcast? I have a television show,'” O’Brien says. “That should be enough for anybody.”\u003c/p>\n\u003cp>But then O’Brien thought more about the prospect, and he began to reconsider. On television, conversations with guests were constrained by TV cameras and commercial breaks; a podcast would free him to proceed more slowly and dig deeper in conversations.\u003c/p>\n\u003cp>The podcast,\u003ca href=\"https://art19.com/shows/conan-obrien\">\u003cem> Conan O’Brien Needs a Friend\u003c/em>,\u003c/a> featuring O’Brien’s conversations with comics, actors and writers, launched November 2018. Its second season starts Oct. 7.\u003c/p>\n\u003cp>O’Brien says the title of the podcast is a joke—sort of. “Sometimes when you’re in the public eye, it can get murky as to who’s really my friend. Who’s going to come visit me in the hospital? Who’s going to come over to my house when my dog dies and drink cocoa with me? Who are those people?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He appreciates how the podcast allows him to “mind meld” with his guests. “Suddenly all these people who I know in the comedy world, and some in the political world who I’ve known, and we’ve chatted, and we’ve had these seven, eight, nine minute chats on television—I can sit down and we can just go down a deep, deep, deep well, and it’s fascinating,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nnzp9SXZxvo\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the conversations on his podcast differ from those he has with guests on late-night TV \u003c/strong>\u003c/p>\n\u003cp>On television … it’s a very presentational way of having a “conversation.” And this sounds like I’m making a joke, but you need to get makeup. They put makeup on you—especially someone as translucent as I—so that you show up on television. So every day I’m in a chair and they’re painting my skull so that I appear somewhat human. And then the people I’m talking to are painted. And then there’s an audience there and cameras. And so I’ve grown accustomed to that and there’s a lot that I love about it. … But [on the podcast] I’m finding that … I can sit down and have a really long conversation with \u003ca href=\"https://www.npr.org/2019/01/08/683192524/ben-stiller-unlocks-an-old-fashioned-prison-break-in-escape-at-dannemora\">Ben Stiller\u003c/a>—someone who I’ve known since I met him at \u003cem>Saturday Night Live\u003c/em> in, I think, 1990 or 1989—I’ve never really had a long conversation with him.\u003c/p>\n\u003cp>\u003cstrong>On landing the job as host of \u003c/strong>\u003cem>\u003cstrong>Late Night \u003c/strong>\u003c/em>\u003cstrong>in 1993\u003c/strong>\u003c/p>\n\u003cp>Say what you want about my career: Someone can like me; they can despise me; they can completely not care; or be completely neutral about me; but everyone would have to agree that it’s a really unusual career. Just completely unprecedented. The way that I got onto the \u003cem>Late Night\u003c/em> show was absurd. Basically, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4518912\">Lorne Michaels\u003c/a> took a complete Hail Mary pass and said, “I know this writer and he has very little performing experience besides some improv, but I think he could be good.”\u003c/p>\n\u003cp>And I went to an audition and, because I had no chance, was completely relaxed in the audition and did really well. And then NBC said, “Well, we have no other choice.” I mean, that wouldn’t happen today. Today if there was a major late-night spot open, there would be 600 candidates from 600 different cable shows with thousands of hours of content.\u003c/p>\n\u003cp>\u003cstrong>On being on the brink of cancellation during his early career \u003c/strong>\u003c/p>\n\u003cp>I think I was actually canceled at one point in a meeting, and then shortly after the meeting ended they said, “Well, we can’t cancel him yet, because we don’t have his replacement quite ready to go, so let’s un-cancel him, and then cancel him at the next meeting.” And then they just didn’t get around to it. So I was supposed to die about six different times, and just didn’t through some—I don’t know what else to call it other than—dumb luck. And then I think I just got lucky and it caught on just at the right time.\u003c/p>\n\u003cp>\u003cstrong>On the nationwide comedy tour he did after a period of conflict that led to him giving up the \u003c/strong>\u003cem>\u003cstrong>Tonight Show\u003c/strong>\u003c/em>\u003cstrong> in 2010 \u003c/strong>\u003c/p>\n\u003cp>It was therapeutic and satisfying. All I ever wanted to do was make people laugh. I know that sounds corny. I just really do love getting in front of people and making them happy, making them laugh. And so getting to do that on a national tour and really delighting these crowds, that was great.\u003c/p>\n\u003cp>I think the trouble for me came after that tour because I think I emotionally crashed. … I think it was obviously very painful to have to give up the \u003cem>Tonight Show\u003c/em>. And so I avoided that pain by doing this tour where I probably burned 3,000 calories a night, would sweat through my clothes, really give everything I have, then go out and take selfies with a thousand people, then sleep for a couple of hours, but then not be able to sleep on the bus or on the plane. When that tour was over I was skeletal.\u003c/p>\n\u003cp>\u003cstrong>On getting help after the comedy tour ended \u003c/strong>\u003c/p>\n\u003cp>I had always done some therapy, but I got a lot of therapy, and I got some help with medication. That helped a lot. The smartest thing I ever did in my life was to marry my wife in 2002. It’s been 17 years, and she’s just a great partner, and very emotionally intelligent, and my best friend. So she helped me through this. And you have kids, too—I have two children, so that puts things in perspective. … All of those things helped me enormously. I’ve since become a big advocate for people—if they’re going through something and they’re having a hard time—talking to somebody, and getting some professional help.\u003c/p>\n\u003cp>\u003cstrong>On how late-night TV has changed since he started \u003c/strong>\u003c/p>\n\u003cp>I launched my TV show shortly after Johnny Carson retired, so I’m still part of that era. That’s the era I come into. There’s hardly any late-night shows, and having a late-night show is this incredible rarity. There are very few of them. It’s like you’re a senator in Montana in 1880. You get to keep that job for 80 years and then get buried on your massive ranch. That’s how it felt back then. And of course that all, it started slowly, and then it’s just changed multiple times. And now, if you and I try to right now list all of the late-night shows that exist … we’d be hard-pressed to name them all and would forget some because there are that many. So it’s just different.\u003c/p>\n\u003cp>And I think when it first starts to happen, the natural reaction is, “How do I maintain my position? How do I keep what I have?” And I think once you realize the foolishness of that, and just what a waste of time it is, and ultimately unproductive, and just say, “You know what? I like a bunch of these other shows. These people are all very good.” And late-night talk shows have become more specialized. … The shows are completely different from each other, and everyone’s working a certain niche, but a lot of them are really good.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AnnMarie Baldonado and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Seth Kelley and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Conan+O%27Brien+Needs+A+Friend%27+Is+A+Joke+Name+For+A+Podcast+%E2%80%94+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conan O’Brien has been hosting late-night TV shows for 26 years—longer than anyone else currently on the air. So when a colleague suggested he start a podcast, he initially balked.\u003c/p>\n\u003cp>“My initial reaction was, ‘Why would I do a podcast? I have a television show,'” O’Brien says. “That should be enough for anybody.”\u003c/p>\n\u003cp>But then O’Brien thought more about the prospect, and he began to reconsider. On television, conversations with guests were constrained by TV cameras and commercial breaks; a podcast would free him to proceed more slowly and dig deeper in conversations.\u003c/p>\n\u003cp>The podcast,\u003ca href=\"https://art19.com/shows/conan-obrien\">\u003cem> Conan O’Brien Needs a Friend\u003c/em>,\u003c/a> featuring O’Brien’s conversations with comics, actors and writers, launched November 2018. Its second season starts Oct. 7.\u003c/p>\n\u003cp>O’Brien says the title of the podcast is a joke—sort of. “Sometimes when you’re in the public eye, it can get murky as to who’s really my friend. Who’s going to come visit me in the hospital? Who’s going to come over to my house when my dog dies and drink cocoa with me? Who are those people?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He appreciates how the podcast allows him to “mind meld” with his guests. “Suddenly all these people who I know in the comedy world, and some in the political world who I’ve known, and we’ve chatted, and we’ve had these seven, eight, nine minute chats on television—I can sit down and we can just go down a deep, deep, deep well, and it’s fascinating,” he says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nnzp9SXZxvo'\n title='//www.youtube.com/embed/nnzp9SXZxvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the conversations on his podcast differ from those he has with guests on late-night TV \u003c/strong>\u003c/p>\n\u003cp>On television … it’s a very presentational way of having a “conversation.” And this sounds like I’m making a joke, but you need to get makeup. They put makeup on you—especially someone as translucent as I—so that you show up on television. So every day I’m in a chair and they’re painting my skull so that I appear somewhat human. And then the people I’m talking to are painted. And then there’s an audience there and cameras. And so I’ve grown accustomed to that and there’s a lot that I love about it. … But [on the podcast] I’m finding that … I can sit down and have a really long conversation with \u003ca href=\"https://www.npr.org/2019/01/08/683192524/ben-stiller-unlocks-an-old-fashioned-prison-break-in-escape-at-dannemora\">Ben Stiller\u003c/a>—someone who I’ve known since I met him at \u003cem>Saturday Night Live\u003c/em> in, I think, 1990 or 1989—I’ve never really had a long conversation with him.\u003c/p>\n\u003cp>\u003cstrong>On landing the job as host of \u003c/strong>\u003cem>\u003cstrong>Late Night \u003c/strong>\u003c/em>\u003cstrong>in 1993\u003c/strong>\u003c/p>\n\u003cp>Say what you want about my career: Someone can like me; they can despise me; they can completely not care; or be completely neutral about me; but everyone would have to agree that it’s a really unusual career. Just completely unprecedented. The way that I got onto the \u003cem>Late Night\u003c/em> show was absurd. Basically, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4518912\">Lorne Michaels\u003c/a> took a complete Hail Mary pass and said, “I know this writer and he has very little performing experience besides some improv, but I think he could be good.”\u003c/p>\n\u003cp>And I went to an audition and, because I had no chance, was completely relaxed in the audition and did really well. And then NBC said, “Well, we have no other choice.” I mean, that wouldn’t happen today. Today if there was a major late-night spot open, there would be 600 candidates from 600 different cable shows with thousands of hours of content.\u003c/p>\n\u003cp>\u003cstrong>On being on the brink of cancellation during his early career \u003c/strong>\u003c/p>\n\u003cp>I think I was actually canceled at one point in a meeting, and then shortly after the meeting ended they said, “Well, we can’t cancel him yet, because we don’t have his replacement quite ready to go, so let’s un-cancel him, and then cancel him at the next meeting.” And then they just didn’t get around to it. So I was supposed to die about six different times, and just didn’t through some—I don’t know what else to call it other than—dumb luck. And then I think I just got lucky and it caught on just at the right time.\u003c/p>\n\u003cp>\u003cstrong>On the nationwide comedy tour he did after a period of conflict that led to him giving up the \u003c/strong>\u003cem>\u003cstrong>Tonight Show\u003c/strong>\u003c/em>\u003cstrong> in 2010 \u003c/strong>\u003c/p>\n\u003cp>It was therapeutic and satisfying. All I ever wanted to do was make people laugh. I know that sounds corny. I just really do love getting in front of people and making them happy, making them laugh. And so getting to do that on a national tour and really delighting these crowds, that was great.\u003c/p>\n\u003cp>I think the trouble for me came after that tour because I think I emotionally crashed. … I think it was obviously very painful to have to give up the \u003cem>Tonight Show\u003c/em>. And so I avoided that pain by doing this tour where I probably burned 3,000 calories a night, would sweat through my clothes, really give everything I have, then go out and take selfies with a thousand people, then sleep for a couple of hours, but then not be able to sleep on the bus or on the plane. When that tour was over I was skeletal.\u003c/p>\n\u003cp>\u003cstrong>On getting help after the comedy tour ended \u003c/strong>\u003c/p>\n\u003cp>I had always done some therapy, but I got a lot of therapy, and I got some help with medication. That helped a lot. The smartest thing I ever did in my life was to marry my wife in 2002. It’s been 17 years, and she’s just a great partner, and very emotionally intelligent, and my best friend. So she helped me through this. And you have kids, too—I have two children, so that puts things in perspective. … All of those things helped me enormously. I’ve since become a big advocate for people—if they’re going through something and they’re having a hard time—talking to somebody, and getting some professional help.\u003c/p>\n\u003cp>\u003cstrong>On how late-night TV has changed since he started \u003c/strong>\u003c/p>\n\u003cp>I launched my TV show shortly after Johnny Carson retired, so I’m still part of that era. That’s the era I come into. There’s hardly any late-night shows, and having a late-night show is this incredible rarity. There are very few of them. It’s like you’re a senator in Montana in 1880. You get to keep that job for 80 years and then get buried on your massive ranch. That’s how it felt back then. And of course that all, it started slowly, and then it’s just changed multiple times. And now, if you and I try to right now list all of the late-night shows that exist … we’d be hard-pressed to name them all and would forget some because there are that many. So it’s just different.\u003c/p>\n\u003cp>And I think when it first starts to happen, the natural reaction is, “How do I maintain my position? How do I keep what I have?” And I think once you realize the foolishness of that, and just what a waste of time it is, and ultimately unproductive, and just say, “You know what? I like a bunch of these other shows. These people are all very good.” And late-night talk shows have become more specialized. … The shows are completely different from each other, and everyone’s working a certain niche, but a lot of them are really good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AnnMarie Baldonado and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Seth Kelley and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Conan+O%27Brien+Needs+A+Friend%27+Is+A+Joke+Name+For+A+Podcast+%E2%80%94+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "6 1/2 Reasons 'Between Two Ferns: The Movie' Defies The Sketch-Into-Movie Curse",
"headTitle": "6 1/2 Reasons ‘Between Two Ferns: The Movie’ Defies The Sketch-Into-Movie Curse | KQED",
"content": "\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OjljgkCQv5c\u003c/p>\n\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\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/OjljgkCQv5c'\n title='//www.youtube.com/embed/OjljgkCQv5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\n\u003cp>https://twitter.com/mrjimbecks/status/1176097881331290113\u003c/p>\n\u003cp>https://twitter.com/PublicBenjamin/status/1176209518604296192\u003c/p>\n\u003cp>https://twitter.com/linecon0/status/1176072657391038465\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vgT4Y30DkaA\u003c/p>\n\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=120wGLgCTkg\u003c/p>\n\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\n\u003cp>https://twitter.com/MrJSnod/status/1176138007205863424\u003c/p>\n\u003cp>https://twitter.com/DavidWPoole73/status/1176189847268184069\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JudasDJs/status/1176069665057071105\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\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/vgT4Y30DkaA'\n title='//www.youtube.com/embed/vgT4Y30DkaA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\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/120wGLgCTkg'\n title='//www.youtube.com/embed/120wGLgCTkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\u003c/p>\u003c/div>",
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"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
"headTitle": "‘Fleabag’ and ‘Game Of Thrones’ Win Big at the Emmys | KQED",
"content": "\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnyA-9r2Fro\u003c/p>\n\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dAXJir9knco\u003c/p>\n\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6OXS7uVU0xA\u003c/p>\n\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VpxBswBrQ2w\u003c/p>\n\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UbMUl57nDAQ\u003c/p>\n\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U2qO9UdA6WA\u003c/p>\n\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Phoebe Waller-Bridge's 'Fleabag' and the departing 'Game of Thrones' both came up big Sunday night, as did 'Chernobyl' and 'The Marvelous Mrs. Maisel'.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\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/hnyA-9r2Fro'\n title='//www.youtube.com/embed/hnyA-9r2Fro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\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/dAXJir9knco'\n title='//www.youtube.com/embed/dAXJir9knco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\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/6OXS7uVU0xA'\n title='//www.youtube.com/embed/6OXS7uVU0xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\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/VpxBswBrQ2w'\n title='//www.youtube.com/embed/VpxBswBrQ2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\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/UbMUl57nDAQ'\n title='//www.youtube.com/embed/UbMUl57nDAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\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/U2qO9UdA6WA'\n title='//www.youtube.com/embed/U2qO9UdA6WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ralph Lauren's 'Friends' Collection Looks Like Nothing Anyone Wore on 'Friends'",
"headTitle": "Ralph Lauren’s ‘Friends’ Collection Looks Like Nothing Anyone Wore on ‘Friends’ | KQED",
"content": "\u003cp>You might recall that Ralph Lauren product placement went into total overdrive in the fifth season of \u003cem>Friends\u003c/em>, after Rachel Green started working for the fashion house. There was even an episode where Phoebe got duped into making out with “Kenny, the copy guy” because she thought he was Ralph Lauren. (Lauren himself made \u003ca href=\"https://www.youtube.com/watch?v=j6pOe8B5LJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a cameo\u003c/a>.)\u003c/p>\n\u003cp>The designer label, very shrewdly, is now looking to capitalize on this history, by launching \u003ca href=\"https://www.ralphlauren.com/friends-cg?sz=30&start=0\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> said to be inspired by \u003cem>Friends\u003c/em>‘ 25th anniversary. There’s only one problem: with the exception of a handful of items, none of these clothes look like anything someone in \u003cem>Friends\u003c/em> might have actually worn.\u003c/p>\n\u003cp>Sure, these pleated skirts have definite Rachel vibes:\u003c/p>\n\u003cfigure id=\"attachment_13866748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a token sweater vest for Chandler:\u003c/p>\n\u003cfigure id=\"attachment_13866719\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And \u003ca href=\"https://www.youtube.com/watch?v=WmwAjt-dz1g\" target=\"_blank\" rel=\"noopener noreferrer\">Ross’ leather pants\u003c/a> (which appeared in exactly one episode) have clearly served as a major inspiration:\u003c/p>\n\u003cfigure id=\"attachment_13866747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>But most of the other items in this collection are genuinely baffling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who, for example, ever, in ten years of \u003cem>Friends\u003c/em> wore anything approximating a pussy-bow blouse? No one! But, sure, go ahead, Ralph Lauren. Give us three:\u003c/p>\n\u003cfigure id=\"attachment_13866727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel did have her fair share of blazers, but red and purple? Not even Gunther pulled this nonsense:\u003c/p>\n\u003cfigure id=\"attachment_13866754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And who are these frumpy dresses for? Because it’s not Monica, Rachel, Phoebe \u003cem>or\u003c/em> Janice:\u003c/p>\n\u003cfigure id=\"attachment_13866729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Just when you think it can’t get any worse, we reach menswear, which, if it’s possible, makes even less sense.\u003c/p>\n\u003cp>I don’t recall anyone in \u003cem>Friends\u003c/em> working on Wall Street, or going to a young Republicans convention, but still this somehow made it to the collection:\u003c/p>\n\u003cfigure id=\"attachment_13866741\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>As did these, which might have been inspired by the stuffy old professors Ross worked with, but still seem like an odd choice:\u003c/p>\n\u003cfigure id=\"attachment_13866763\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>The less said about this weird teddy bear sweater, the better:\u003c/p>\n\u003cfigure id=\"attachment_13866730\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, and worst of all: WHO THE HELL IS THE INSPIRATION FOR THESE HIDEOUS MOUNTAIN CLIMBER PANTS?!\u003c/p>\n\u003cfigure id=\"attachment_13866732\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>I am aware that the Ralph Lauren \u003cem>Friends\u003c/em> collection is a very silly thing to be annoyed about right now, but it is particularly frustrating to me, since last year I wrote an article titled “\u003ca href=\"https://www.kqed.org/pop/105499/all-the-friends-outfits-we-should-bring-back\" target=\"_blank\" rel=\"noopener noreferrer\">All the Friends Outfits We Should Bring Back.\u003c/a>” It included Monica and Rachel’s “Girls” shirts, Phoebe’s Santa pants and a variety of other things Ralph Lauren didn’t want to give me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’d have settled for Joey’s man-bag, Ralph. I’d have settled for Joey’s man-bag.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might recall that Ralph Lauren product placement went into total overdrive in the fifth season of \u003cem>Friends\u003c/em>, after Rachel Green started working for the fashion house. There was even an episode where Phoebe got duped into making out with “Kenny, the copy guy” because she thought he was Ralph Lauren. (Lauren himself made \u003ca href=\"https://www.youtube.com/watch?v=j6pOe8B5LJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a cameo\u003c/a>.)\u003c/p>\n\u003cp>The designer label, very shrewdly, is now looking to capitalize on this history, by launching \u003ca href=\"https://www.ralphlauren.com/friends-cg?sz=30&start=0\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> said to be inspired by \u003cem>Friends\u003c/em>‘ 25th anniversary. There’s only one problem: with the exception of a handful of items, none of these clothes look like anything someone in \u003cem>Friends\u003c/em> might have actually worn.\u003c/p>\n\u003cp>Sure, these pleated skirts have definite Rachel vibes:\u003c/p>\n\u003cfigure id=\"attachment_13866748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pleats.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a token sweater vest for Chandler:\u003c/p>\n\u003cfigure id=\"attachment_13866719\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337820_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And \u003ca href=\"https://www.youtube.com/watch?v=WmwAjt-dz1g\" target=\"_blank\" rel=\"noopener noreferrer\">Ross’ leather pants\u003c/a> (which appeared in exactly one episode) have clearly served as a major inspiration:\u003c/p>\n\u003cfigure id=\"attachment_13866747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/LEATHER.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>But most of the other items in this collection are genuinely baffling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who, for example, ever, in ten years of \u003cem>Friends\u003c/em> wore anything approximating a pussy-bow blouse? No one! But, sure, go ahead, Ralph Lauren. Give us three:\u003c/p>\n\u003cfigure id=\"attachment_13866727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866727\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/pussy-bow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Rachel did have her fair share of blazers, but red and purple? Not even Gunther pulled this nonsense:\u003c/p>\n\u003cfigure id=\"attachment_13866754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/blazers.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>And who are these frumpy dresses for? Because it’s not Monica, Rachel, Phoebe \u003cem>or\u003c/em> Janice:\u003c/p>\n\u003cfigure id=\"attachment_13866729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/bad-dress.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Just when you think it can’t get any worse, we reach menswear, which, if it’s possible, makes even less sense.\u003c/p>\n\u003cp>I don’t recall anyone in \u003cem>Friends\u003c/em> working on Wall Street, or going to a young Republicans convention, but still this somehow made it to the collection:\u003c/p>\n\u003cfigure id=\"attachment_13866741\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1300354_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>As did these, which might have been inspired by the stuffy old professors Ross worked with, but still seem like an odd choice:\u003c/p>\n\u003cfigure id=\"attachment_13866763\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg\" alt=\"Ralph Lauren\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone-1920x1782.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/herringbone.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>The less said about this weird teddy bear sweater, the better:\u003c/p>\n\u003cfigure id=\"attachment_13866730\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1312435_alternate10-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, and worst of all: WHO THE HELL IS THE INSPIRATION FOR THESE HIDEOUS MOUNTAIN CLIMBER PANTS?!\u003c/p>\n\u003cfigure id=\"attachment_13866732\" class=\"wp-caption aligncenter\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg\" alt=\"Ralph Lauren\" width=\"392\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/s7-1337268_lifestyle-160x201.jpg 160w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Lauren\u003c/figcaption>\u003c/figure>\n\u003cp>I am aware that the Ralph Lauren \u003cem>Friends\u003c/em> collection is a very silly thing to be annoyed about right now, but it is particularly frustrating to me, since last year I wrote an article titled “\u003ca href=\"https://www.kqed.org/pop/105499/all-the-friends-outfits-we-should-bring-back\" target=\"_blank\" rel=\"noopener noreferrer\">All the Friends Outfits We Should Bring Back.\u003c/a>” It included Monica and Rachel’s “Girls” shirts, Phoebe’s Santa pants and a variety of other things Ralph Lauren didn’t want to give me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’d have settled for Joey’s man-bag, Ralph. I’d have settled for Joey’s man-bag.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why We Need Jane Lynch and Cyndi Lauper's 'Golden Girls' Reboot",
"headTitle": "Why We Need Jane Lynch and Cyndi Lauper’s ‘Golden Girls’ Reboot | KQED",
"content": "\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x97DorT1Fcs\u003c/p>\n\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\n\u003cp>https://twitter.com/JeremywithaZ/status/1173947100087930880\u003c/p>\n\u003cp>https://twitter.com/Road2Oscars/status/1173414374247002112\u003c/p>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJS54oxSebs\u003c/p>\n\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\n\u003cp>https://www.instagram.com/p/B2UN1fvA4yV/\u003c/p>\n\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It ran for 180 episodes, seven years, and earned 11 Emmy Awards and two Golden Globes. Back then, \u003cem>The Golden Girls\u003c/em> was a smash hit for NBC, and today, it remains popular on a global scale thanks to syndication. One needs to only glance at the mountain of character-related \u003ca href=\"https://www.etsy.com/search?q=golden%20girls\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy merch\u003c/a> to know it continues to resonate with new generations.\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/x97DorT1Fcs'\n title='//www.youtube.com/embed/x97DorT1Fcs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, Cyndi Lauper and Jane Lynch are using the series as inspiration for a new Netflix project. “We’re our age,” \u003ca href=\"https://www.huffpost.com/entry/cyndi-lauper-jane-lynch-golden-girls-netflix_n_5d7fe7a3e4b00d69059d0cdf\" target=\"_blank\" rel=\"noopener noreferrer\">Lynch said\u003c/a> during an interview at the Creative Arts Emmys. “I’m almost 60 and she’s 65, and we’re looking for our next act, without ever having had husbands [or] children. And there will be two other people who haven’t been cast yet. But it’s kind of a \u003cem>Golden Girls\u003c/em> for today.”\u003c/p>\n\u003cp>Comedian and comedy writer Carol Leifer has also confirmed her involvement, posting this photo to Facebook back in July.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13866591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png\" alt=\"\" width=\"547\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM.png 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-17-at-2.22.25-PM-160x147.png 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Often, when there’s talk of re-doing a beloved pop culture moment, fans immediately freak out—just look at the hubbub surrounding that \u003ca href=\"https://www.cnn.com/2019/09/18/entertainment/the-princess-bride-remake-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">potential \u003cem>Princess Bride\u003c/em> re-make\u003c/a>. By contrast, social media has been a love-fest for Lynch and Lauper.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s face it: America needs this. Despite \u003cem>The Golden Girls\u003c/em> carving out a space in light entertainment for funny senior ladies back in 1985, the barriers that Dorothy, Rose, Blanche and Sophia broke down went straight back up again after the final episode aired in 1992.\u003c/p>\n\u003cp>In the years since, the only TV series to truly embrace and hold focus on desirable, independent, sexually active older women is \u003ca href=\"https://www.kqed.org/pop/97826/the-most-feminist-tv-moments-of-2017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grace and Frankie\u003c/em>\u003c/a>—and we had to wait around 23 years to get that. Elsewhere, Vicki Lawrence does the best with what she’s given on \u003cem>The Cool Kids, \u003c/em>and Betty White flew the flag again in \u003cem>Hot in Cleveland\u003c/em> for a few years, but the lack of representation (plus, where are the older women of color?) is pretty dire.\u003c/p>\n\u003cp>Back when \u003cem>The Golden Girls\u003c/em> first aired, a show depicting a group of single female retirees discussing \u003ca href=\"https://www.youtube.com/watch?v=BpNS8jYniLY\" target=\"_blank\" rel=\"noopener noreferrer\">condoms\u003c/a>, not \u003ca href=\"https://www.youtube.com/watch?v=npcYDCEefoI\" target=\"_blank\" rel=\"noopener noreferrer\">wearing underwear\u003c/a> and arguing hilariously over who was “the biggest slut” was revolutionary. Even Dorothy’s octogenarian mother was a frequent dater—something that had never been seen on TV before.\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/jJS54oxSebs'\n title='//www.youtube.com/embed/jJS54oxSebs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Its universal appeal, though, was rooted firmly in the ageless female archetypes that Dorothy, Rose, Blanche and Sophia represented (wisdom, naivety, sexuality and matriarchy), and the close friendships—and clashes—between them. They were the Carrie, Charlotte, Samantha and Miranda of the ’80s, and deserve much of the credit that \u003cem>Sex and the City\u003c/em> later received for realistically portraying how women talk to each other in private.\u003c/p>\n\u003cp>\u003cem>The Golden Girls\u003c/em> wasn’t the first TV series to prove that shows without male leads could still be smash hits—\u003cem>Charlie’s Angels\u003c/em> had already done that in the ’70s—but it did help clear the path for more. That so many women-led shows (\u003cem>Desperate Housewives\u003c/em>, \u003cem>Girlfriends\u003c/em>, \u003cem>Girls\u003c/em>, \u003cem>Designing Women\u003c/em>, \u003cem>Hot In Cleveland\u003c/em> and, yes, \u003cem>Sex and the City\u003c/em>) have since structured themselves around four distinct leads speaks volumes about just how influential \u003cem>The Golden Girls\u003c/em> was within the realms of representing women—albeit much younger ones.\u003c/p>\n\u003cp>And though the original series remains hugely entertaining for modern audiences, thanks to sharp comedy and sparkling chemistry, the world deserves an update. Not all of the show has held up all that well—and I don’t just mean the wicker furniture and pastel decor. Though groundbreaking at the time, the episodes that tackle social issues can be painful to get through. Moments like the ones in which Blanche struggles with her brother’s marriage to a man, or when Rose has to be told that AIDS is “not a bad person’s disease,” or when Blanche disapproves of her single daughter’s pregnancy are pretty cringe-inducing today.\u003c/p>\n\u003cp>Also, the way Americans grow old in 2019 is vastly different to how people in the ’80s did it—not least because we live longer now. In 1988, the life expectancy for the average American was 71; today it’s 81, and new generations are hanging onto their youth for longer. Truthfully, by today’s standards, Dorothy, Blanche, Sophia and Rose seem positively conventional—probably because sexagenarians simply didn’t have the freedom (or the botox) back then to look and act like Cyndi Lauper and Jane Lynch do now.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://etd.ohiolink.edu/!etd.send_file?accession=bgsu1366060647&disposition=inline\" target=\"_blank\" rel=\"noopener noreferrer\">Bea Arthur\u003c/a> once commented that \u003cem>The Golden Girls\u003c/em> was special because “there were these old, post-menopausal ladies who looked good, wore fabulous earrings, dressed well, and had very active sex lives. It showed that old people don’t have to look and smell funny and hide in the corner.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple enough message, but one that is definitely not being shared enough on the small screen. If anyone can effectively do it now, it’s the ever-rebellious and always-outspoken Lynch and Lauper. And if we all cross our fingers hard enough, maybe—\u003cem>picture it, St. Olaf, 2020\u003c/em>—just maybe, Betty White will make a cameo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QTIkUzkbzQk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\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/QTIkUzkbzQk'\n title='//www.youtube.com/embed/QTIkUzkbzQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. 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I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When fashion designer Tan France got the call to audition for the Netflix makeover series \u003cem>Queer Eye, \u003c/em>his initial reaction was to say no. France, the gay son of Pakistani-Muslim immigrants, didn’t want to take on the burden of representing his community—especially on television.\u003c/p>\n\u003cp>“The thought of being one of the very first openly gay South Asian men on a major show. … That pressure was so hard to handle,” he says. “The pressure of being one of the first to do something is massively stressful.”\u003c/p>\n\u003cfigure id=\"attachment_13866204\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg\" alt=\"'Naturally Tan' by Tan France\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85-160x243.jpg 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Naturally Tan’ by Tan France \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then France began to reflect on the racism he had experienced throughout his life. Growing up in a small town in England, bullies slapped him in the face, punched him in the gut and called him racist slurs. After the terrorist attacks of Sept. 11, 2001, he was harassed and called a “terrorist” on the street. He is still routinely questioned by TSA when he travels.\u003c/p>\n\u003cp>As France thought about these experiences, he began to reconsider auditioning for \u003cem>Queer Eye: \u003c/em>“I could have an opportunity to change the narrative for my people,” he says. “And so that’s why I decided to take the actual audition. … I’ve got to continue to show that Pakistanis are wonderful people, that we are caring people.”\u003c/p>\n\u003cp>France reflects on his childhood, his career in fashion and on his role on \u003cem>Queer Eye\u003c/em> in the new memoir, \u003cem>Naturally Tan. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On growing up Pakistani in the U.K., and being bullied as a kid \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the age of five or six, when you get hit for your skin color, it makes no sense, because you don’t see that as a problem. Violence was ever-present in my life. That was something I never escaped, I just saw it as normal. … I remember saying this to my husband, that I was never bullied as a kid, and then I would talk about my childhood and he was like, “You’ve said you haven’t been bullied but that absolutely is bullying!” The strange thing is, we never saw it as bullying. It was just a matter of fact. … I don’t think anyone ever noticed [I was gay], I think that they were just so consumed with my color that they just seemed to lose sight of the fact that I was also homosexual.\u003c/p>\n\u003cp>\u003cstrong>On being exposed to fashion at a young age because his grandfather owned a denim factory \u003c/strong>\u003c/p>\n\u003cp>They were making denim [with] Disney prints on them, and so I was able to experience Western clothing like most South Asian kids will never have the luxury of doing. I was able to see how a piece of fabric turns into a garment that you will actually wear, and so I was privy to the ins and outs of the process. And at the end of that process I got to keep some of those things that were slightly off — like a stitch was wrong or a color was off—those things I got to keep. So I was able to experiment with clothes more so than most people. Even though I wasn’t allowed to wear it around the house, I was still exposed to that.\u003c/p>\n\u003cp>\u003cstrong>On experiencing racism after the Sept. 11 attacks \u003c/strong>\u003c/p>\n\u003cp>I saw the planes going into the towers over and over again on the news and I felt immediate dread, because it was so clear what the message was: that it’s Muslims. There was a lot of talk about Pakistan and Afghanistan. I’d already experienced 17 years of racism for being Pakistani, and the interesting thing was, I looked around the room at the other Pakistani people, and there weren’t that many, and every one of us had the exact same look of complete dread like, “Oh no, we’re going to pay for this.” And it happened immediately.\u003c/p>\n\u003cp>\u003cstrong>On the stress of running three fashion businesses and the toll it took on his mental health\u003c/strong>\u003c/p>\n\u003cp>I had built up these three businesses that, thankfully, were doing incredibly well. But the production was getting more and more problematic, and the thought of continuing on with that was just too much to handle. And so I got really depressed. … I never experienced that before. I don’t suffer bouts of depression. I’m one of the most positive people I know. I always can see a way out of a situation and how to get out of a situation to make myself happy again. But with that I couldn’t see a time when I was going to be happy in business. So I started to really think of how I could solve the problem. It wasn’t really solving the problem, it was just getting out of the situation, and getting out of life.\u003c/p>\n\u003cp>And so I had a moment one day … on my way home from work, I called my husband and I told him that I need him to talk to me and help me. I feel like I want to drive off this bridge and I’m almost positive I’m going to do this if he’s not there for me. He’s wonderful. He’s an angel sent down from heaven, and he talked me through it, and urged me to just get home as soon as possible. He was going to leave work and come home to make sure I was OK, and then when I got home his answer was simple. It was just, “Let them go. You don’t have anything to prove.”\u003c/p>\n\u003cp>I’ve always been the kind of person my whole life that has felt I have something to prove and … I know it’s because of my childhood and the amount of abuse we suffered and I suffered, that I’ve always felt like I had to prove something and I feel that even to this day. Every day when I get out of bed and I work as hard as I do, it’s to prove my worth. And so he said, “You don’t have to prove yourself in this business anymore. You’ve made it. Your businesses are successful. Your plan was to always sell them maybe 20 years from now, but sell them now, get rid of them, we don’t need any more money.” And so I did.\u003c/p>\n\u003cp>\u003cstrong>On telling his Muslim family he was marrying a man \u003c/strong>\u003c/p>\n\u003cp>My dad died when I was young. He died just before I was 14 and I wasn’t out at the time, so he never would have known that I had desires to marry a man. My mom, when I told her, my mom is quite liberal, she practices her religion but she’s quite liberal and … is quite docile. She just wants to keep the peace and go with the flow, and as long as everyone’s happy she’s fine. And so that was the case with me. I told her that I was marrying a man, she was like OK. … There was never a fight about it. There was never really a discussion really about it. She was just so matter-of-fact about it and has been ever since.\u003c/p>\n\u003cp>And so it was quite easy for me. … The fact that she had a love marriage [with my father,] she [too] had gone against our cultural norms, which, back in the day—this was in the ’70s—was shocking, absolutely shocking. She was probably one of the very few people in her community, if not in her extended family, who would have had a love marriage. And so I think that that probably made it easier for her to understand.\u003c/p>\n\u003cp>But she always knew that I was the black sheep of the family. She always knew that I wasn’t going to have the same life as her other children. She knew from my very early age that I was nothing like her other children. She didn’t know how to articulate it, as I said, she’d never even heard the word “gay” before, but she just said I wasn’t like any of her other sons. … I was like her extra daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=54BVvP7zvDQ\u003c/p>\n\u003cp>\u003cstrong>On his initial reluctance to join the \u003c/strong>\u003cem>\u003cstrong>Queer Eye\u003c/strong>\u003c/em>\u003cstrong> cast \u003c/strong>\u003c/p>\n\u003cp>I was worried about the people that I know and love being attacked by people within our community. I wasn’t concerned about what Caucasian people might think of it, necessarily. It was what my own people would think of it, that they would be concerned that my family have a gay man who’s very openly gay, very unabashedly gay, so publicly. … In our culture you don’t represent yourself, you represent your family. And as far as my culture is concerned, when you are … “sinning” in their eyes, you are bringing shame to your community.\u003c/p>\n\u003cp>\u003cstrong>On how doing \u003c/strong>\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>has pushed his personal boundaries \u003c/strong>\u003c/p>\n\u003cp>Being around Jonathan Van Ness changed my boundaries! … I was always very, very much Westernized, but I’ve become more so with the things I will discuss. I was always quite foul mouthed. I’ve always been foul mouthed. And that’s just very typically English, especially in working-class culture, and my parents were definitely working class. … I have become more vulgar now, because … that’s the humor on set. We’re just a silly, playful bunch.\u003c/p>\n\u003cp>And actually I love that side of me now that’s able to just be free and talk about things that people are really going through. I was quite guarded before. … All the [\u003cem>Queer Ey\u003c/em>e] boys will say I’m the most bounded person they know. If I don’t want something to happen, if I do not want something discussed, if I do not want to be close, I will make it very clear. I set my intentions with people very clearly, very quickly, very early on. And that’s something that’s quite rare for Americans, I think. …\u003c/p>\n\u003cp>Please know that this is my personal opinion, but being foreign here in the U.S. I found that Americans are quite passive-aggressive when it comes to setting their true intentions when they first meet friends. But the British culture we were a lot more open about what we will accept or not accept from our friends and family, and so I think that’s quite jarring for the boys. So I’ve taught them my boundaries, but they’ve also pushed them, and the parts that have been pushed are for the better, as far as I’m concerned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Fashion+Expert+Tan+France+Nearly+Turned+Down+%27Queer+Eye%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When fashion designer Tan France got the call to audition for the Netflix makeover series \u003cem>Queer Eye, \u003c/em>his initial reaction was to say no. France, the gay son of Pakistani-Muslim immigrants, didn’t want to take on the burden of representing his community—especially on television.\u003c/p>\n\u003cp>“The thought of being one of the very first openly gay South Asian men on a major show. … That pressure was so hard to handle,” he says. “The pressure of being one of the first to do something is massively stressful.”\u003c/p>\n\u003cfigure id=\"attachment_13866204\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg\" alt=\"'Naturally Tan' by Tan France\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85-160x243.jpg 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Naturally Tan’ by Tan France \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then France began to reflect on the racism he had experienced throughout his life. Growing up in a small town in England, bullies slapped him in the face, punched him in the gut and called him racist slurs. After the terrorist attacks of Sept. 11, 2001, he was harassed and called a “terrorist” on the street. He is still routinely questioned by TSA when he travels.\u003c/p>\n\u003cp>As France thought about these experiences, he began to reconsider auditioning for \u003cem>Queer Eye: \u003c/em>“I could have an opportunity to change the narrative for my people,” he says. “And so that’s why I decided to take the actual audition. … I’ve got to continue to show that Pakistanis are wonderful people, that we are caring people.”\u003c/p>\n\u003cp>France reflects on his childhood, his career in fashion and on his role on \u003cem>Queer Eye\u003c/em> in the new memoir, \u003cem>Naturally Tan. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On growing up Pakistani in the U.K., and being bullied as a kid \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the age of five or six, when you get hit for your skin color, it makes no sense, because you don’t see that as a problem. Violence was ever-present in my life. That was something I never escaped, I just saw it as normal. … I remember saying this to my husband, that I was never bullied as a kid, and then I would talk about my childhood and he was like, “You’ve said you haven’t been bullied but that absolutely is bullying!” The strange thing is, we never saw it as bullying. It was just a matter of fact. … I don’t think anyone ever noticed [I was gay], I think that they were just so consumed with my color that they just seemed to lose sight of the fact that I was also homosexual.\u003c/p>\n\u003cp>\u003cstrong>On being exposed to fashion at a young age because his grandfather owned a denim factory \u003c/strong>\u003c/p>\n\u003cp>They were making denim [with] Disney prints on them, and so I was able to experience Western clothing like most South Asian kids will never have the luxury of doing. I was able to see how a piece of fabric turns into a garment that you will actually wear, and so I was privy to the ins and outs of the process. And at the end of that process I got to keep some of those things that were slightly off — like a stitch was wrong or a color was off—those things I got to keep. So I was able to experiment with clothes more so than most people. Even though I wasn’t allowed to wear it around the house, I was still exposed to that.\u003c/p>\n\u003cp>\u003cstrong>On experiencing racism after the Sept. 11 attacks \u003c/strong>\u003c/p>\n\u003cp>I saw the planes going into the towers over and over again on the news and I felt immediate dread, because it was so clear what the message was: that it’s Muslims. There was a lot of talk about Pakistan and Afghanistan. I’d already experienced 17 years of racism for being Pakistani, and the interesting thing was, I looked around the room at the other Pakistani people, and there weren’t that many, and every one of us had the exact same look of complete dread like, “Oh no, we’re going to pay for this.” And it happened immediately.\u003c/p>\n\u003cp>\u003cstrong>On the stress of running three fashion businesses and the toll it took on his mental health\u003c/strong>\u003c/p>\n\u003cp>I had built up these three businesses that, thankfully, were doing incredibly well. But the production was getting more and more problematic, and the thought of continuing on with that was just too much to handle. And so I got really depressed. … I never experienced that before. I don’t suffer bouts of depression. I’m one of the most positive people I know. I always can see a way out of a situation and how to get out of a situation to make myself happy again. But with that I couldn’t see a time when I was going to be happy in business. So I started to really think of how I could solve the problem. It wasn’t really solving the problem, it was just getting out of the situation, and getting out of life.\u003c/p>\n\u003cp>And so I had a moment one day … on my way home from work, I called my husband and I told him that I need him to talk to me and help me. I feel like I want to drive off this bridge and I’m almost positive I’m going to do this if he’s not there for me. He’s wonderful. He’s an angel sent down from heaven, and he talked me through it, and urged me to just get home as soon as possible. He was going to leave work and come home to make sure I was OK, and then when I got home his answer was simple. It was just, “Let them go. You don’t have anything to prove.”\u003c/p>\n\u003cp>I’ve always been the kind of person my whole life that has felt I have something to prove and … I know it’s because of my childhood and the amount of abuse we suffered and I suffered, that I’ve always felt like I had to prove something and I feel that even to this day. Every day when I get out of bed and I work as hard as I do, it’s to prove my worth. And so he said, “You don’t have to prove yourself in this business anymore. You’ve made it. Your businesses are successful. Your plan was to always sell them maybe 20 years from now, but sell them now, get rid of them, we don’t need any more money.” And so I did.\u003c/p>\n\u003cp>\u003cstrong>On telling his Muslim family he was marrying a man \u003c/strong>\u003c/p>\n\u003cp>My dad died when I was young. He died just before I was 14 and I wasn’t out at the time, so he never would have known that I had desires to marry a man. My mom, when I told her, my mom is quite liberal, she practices her religion but she’s quite liberal and … is quite docile. She just wants to keep the peace and go with the flow, and as long as everyone’s happy she’s fine. And so that was the case with me. I told her that I was marrying a man, she was like OK. … There was never a fight about it. There was never really a discussion really about it. She was just so matter-of-fact about it and has been ever since.\u003c/p>\n\u003cp>And so it was quite easy for me. … The fact that she had a love marriage [with my father,] she [too] had gone against our cultural norms, which, back in the day—this was in the ’70s—was shocking, absolutely shocking. She was probably one of the very few people in her community, if not in her extended family, who would have had a love marriage. And so I think that that probably made it easier for her to understand.\u003c/p>\n\u003cp>But she always knew that I was the black sheep of the family. She always knew that I wasn’t going to have the same life as her other children. She knew from my very early age that I was nothing like her other children. She didn’t know how to articulate it, as I said, she’d never even heard the word “gay” before, but she just said I wasn’t like any of her other sons. … I was like her extra daughter.\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/54BVvP7zvDQ'\n title='//www.youtube.com/embed/54BVvP7zvDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On his initial reluctance to join the \u003c/strong>\u003cem>\u003cstrong>Queer Eye\u003c/strong>\u003c/em>\u003cstrong> cast \u003c/strong>\u003c/p>\n\u003cp>I was worried about the people that I know and love being attacked by people within our community. I wasn’t concerned about what Caucasian people might think of it, necessarily. It was what my own people would think of it, that they would be concerned that my family have a gay man who’s very openly gay, very unabashedly gay, so publicly. … In our culture you don’t represent yourself, you represent your family. And as far as my culture is concerned, when you are … “sinning” in their eyes, you are bringing shame to your community.\u003c/p>\n\u003cp>\u003cstrong>On how doing \u003c/strong>\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>has pushed his personal boundaries \u003c/strong>\u003c/p>\n\u003cp>Being around Jonathan Van Ness changed my boundaries! … I was always very, very much Westernized, but I’ve become more so with the things I will discuss. I was always quite foul mouthed. I’ve always been foul mouthed. And that’s just very typically English, especially in working-class culture, and my parents were definitely working class. … I have become more vulgar now, because … that’s the humor on set. We’re just a silly, playful bunch.\u003c/p>\n\u003cp>And actually I love that side of me now that’s able to just be free and talk about things that people are really going through. I was quite guarded before. … All the [\u003cem>Queer Ey\u003c/em>e] boys will say I’m the most bounded person they know. If I don’t want something to happen, if I do not want something discussed, if I do not want to be close, I will make it very clear. I set my intentions with people very clearly, very quickly, very early on. And that’s something that’s quite rare for Americans, I think. …\u003c/p>\n\u003cp>Please know that this is my personal opinion, but being foreign here in the U.S. I found that Americans are quite passive-aggressive when it comes to setting their true intentions when they first meet friends. 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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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