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"content": "\u003cp>The premiere episode of the final season of \u003cem>Game of Thrones\u003c/em> drew a record 17.4 million viewers across various platforms. But it’s not just HBO’s hit show that’s drawing big numbers. More than 1 million people have signed up to learn High Valyrian, a fictional language spoken in the series.\u003c/p>\n\u003cp>For linguist David Peterson, it all started six years after he graduated from UC Berkeley.\u003c/p>\n\u003cp>The \u003cem>Game of Thrones\u003c/em> producers held a competition looking for someone to create a different language, one for the Dothraki people, the nomadic warriors of Essos.\u003c/p>\n\u003cp>Peterson won, and went on to become the show’s language creator. With just a couple of lines to go on from George R. R. Martin’s books, Peterson also created High Valyrian, the native tongue of Daenerys Stormborn and House Targaryen.\u003c/p>\n\u003cp>Now some 1.2 million people have signed up to learn High Valyrian on the free language-learning app Duolingo. According to Duolingo, High Valyrian \u003ca href=\"https://www.duolingo.com/courses\" target=\"_blank\" rel=\"noopener\">currently has as many active learners as Hebrew\u003c/a>.\u003c/p>\n\u003cp>So why is High Valyrian so popular?\u003c/p>\n\u003cp>“Well first let’s be serious. It’s the dragons. That’s what draws people. I mean Daenerys is cool, but the dragons are awesome. So I’m sure that’s part of it.”\u003c/p>\n\u003cp>Peterson recalls when High Valyrian was first introduced during Season 3, when Daenerys says, “A dragon is not a slave.”\u003c/p>\n\u003cp>“It was a really cool moment for the series, a very memorable moment for the series,” said Peterson. “And unlike many memorable moments of the series, it was a positive one.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bjkVgYZB0aA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED first spoke with Peterson in the summer of 2017 when he was a visiting professor at UC Berkeley, teaching students how to speak and write like characters in \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>He assigned each of his students one language to build from the \u003cem>Game of Thrones\u003c/em> universe. John Clements created one for the people of Sarnor.\u003c/p>\n\u003cp>Clements, who was majoring in computer science at the University of Arkansas, said creating languages has been a hobby of his since he was a kid.\u003c/p>\n\u003cp>“It’s always something I’ve been interested in,” said Clements. “I remember in middle school I would sit at lunch and make up alphabets.”\u003c/p>\n\u003cfigure id=\"attachment_13655084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg\" alt=\"Student Dash Stevens has a background in linguistics and has been creating his own languages for several years.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Dash Stevens has a background in linguistics and has been creating his own languages for several years. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow student Dash Stevens fleshed out the language of the people of Jogos Nhai. Stevens studied linguistics at the University of Hawaii, and has been inventing new tongues for years.\u003c/p>\n\u003cp>“It’s got a base consonant and then from there it has markings for vowels,” said Stevens of his linguistic project. “The closest kind of writing system in existence would be devanagari for Hindi.”\u003c/p>\n\u003cfigure id=\"attachment_13659116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13659116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.C. Berkeley visiting professor David Peterson runs through translation exercises in a recent class. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The class was a crash-course in linguistics through a \u003cem>Game of Thrones\u003c/em> lens, said Peterson.\u003c/p>\n\u003cp>“In learning how to do this stuff you’re basically learning everything that there is to know about language,” Peterson said.\u003c/p>\n\u003cp>As for how that course went in 2017, Peterson said he was pleased with his students’ progress.\u003c/p>\n\u003cp>“There have been lots of theft-worthy ideas that I’ve seen,” said Peterson.\u003c/p>\n\u003cp>Peterson said one of the most essential things the students learn is to make languages that people actually want to use on a daily basis. “That is what all languages are going to have in common,” said Peterson. “They evolve structures that are going to be useful in some way.”\u003c/p>\n\u003cp>For example, a word in English that would not be useful — if it existed — is “cattif.” Peterson made up the word and said it means “17 cats.”\u003c/p>\n\u003cp>Peterson said most people would have very little use for a word that means 17 cats, so it would just fall out of use. “That’s because of the way the human brain works, the way that we live our lives and our experience with cats.”\u003c/p>\n\u003cp>For the students, that meant making several changes to their languages to make them truly practical. Stevens said he went through seven versions of his written system.\u003c/p>\n\u003cp>“If you want something to be even remotely realistic, you have to have that kind of depth to it,” Stevens said.\u003c/p>\n\u003cfigure id=\"attachment_13655086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many drafts of Dash Stevens’ writing system for the people of Jogos Nhai. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So could one of these students be the next hot new language inventor in Hollywood?\u003c/p>\n\u003cp>The entertainment industry is just starting to develop serious careers for language creators, said Peterson. So the good news for his students: jobs are on the way.\u003c/p>\n\u003cp>Although Peterson calls Orange County home, he watched the Season 8 premiere back on the Berkeley campus with some students Sunday night. And like all fans, he’s bracing himself because he knows a lot is about to go down in whatever language the character speaks.\u003c/p>\n\u003cp>\u003cem>This post includes reporting from KCRW’s Jenny Hamel and KQED’s David Marks. A version of this story was originally published on July 14, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED first spoke with Peterson in the summer of 2017 when he was a visiting professor at UC Berkeley, teaching students how to speak and write like characters in \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>He assigned each of his students one language to build from the \u003cem>Game of Thrones\u003c/em> universe. John Clements created one for the people of Sarnor.\u003c/p>\n\u003cp>Clements, who was majoring in computer science at the University of Arkansas, said creating languages has been a hobby of his since he was a kid.\u003c/p>\n\u003cp>“It’s always something I’ve been interested in,” said Clements. “I remember in middle school I would sit at lunch and make up alphabets.”\u003c/p>\n\u003cfigure id=\"attachment_13655084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655084\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg\" alt=\"Student Dash Stevens has a background in linguistics and has been creating his own languages for several years.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25979_FullSizeRender-1-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Dash Stevens has a background in linguistics and has been creating his own languages for several years. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow student Dash Stevens fleshed out the language of the people of Jogos Nhai. Stevens studied linguistics at the University of Hawaii, and has been inventing new tongues for years.\u003c/p>\n\u003cp>“It’s got a base consonant and then from there it has markings for vowels,” said Stevens of his linguistic project. “The closest kind of writing system in existence would be devanagari for Hindi.”\u003c/p>\n\u003cfigure id=\"attachment_13659116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13659116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25980_FullSizeRender-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.C. Berkeley visiting professor David Peterson runs through translation exercises in a recent class. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The class was a crash-course in linguistics through a \u003cem>Game of Thrones\u003c/em> lens, said Peterson.\u003c/p>\n\u003cp>“In learning how to do this stuff you’re basically learning everything that there is to know about language,” Peterson said.\u003c/p>\n\u003cp>As for how that course went in 2017, Peterson said he was pleased with his students’ progress.\u003c/p>\n\u003cp>“There have been lots of theft-worthy ideas that I’ve seen,” said Peterson.\u003c/p>\n\u003cp>Peterson said one of the most essential things the students learn is to make languages that people actually want to use on a daily basis. “That is what all languages are going to have in common,” said Peterson. “They evolve structures that are going to be useful in some way.”\u003c/p>\n\u003cp>For example, a word in English that would not be useful — if it existed — is “cattif.” Peterson made up the word and said it means “17 cats.”\u003c/p>\n\u003cp>Peterson said most people would have very little use for a word that means 17 cats, so it would just fall out of use. “That’s because of the way the human brain works, the way that we live our lives and our experience with cats.”\u003c/p>\n\u003cp>For the students, that meant making several changes to their languages to make them truly practical. Stevens said he went through seven versions of his written system.\u003c/p>\n\u003cp>“If you want something to be even remotely realistic, you have to have that kind of depth to it,” Stevens said.\u003c/p>\n\u003cfigure id=\"attachment_13655086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13655086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS25981_IMG_0595-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many drafts of Dash Stevens’ writing system for the people of Jogos Nhai. \u003ccite>(Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So could one of these students be the next hot new language inventor in Hollywood?\u003c/p>\n\u003cp>The entertainment industry is just starting to develop serious careers for language creators, said Peterson. So the good news for his students: jobs are on the way.\u003c/p>\n\u003cp>Although Peterson calls Orange County home, he watched the Season 8 premiere back on the Berkeley campus with some students Sunday night. And like all fans, he’s bracing himself because he knows a lot is about to go down in whatever language the character speaks.\u003c/p>\n\u003cp>\u003cem>This post includes reporting from KCRW’s Jenny Hamel and KQED’s David Marks. A version of this story was originally published on July 14, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Live streamers could be forgiven for wondering if the Oscars had moved to the Steve Jobs Theater in Cupertino Monday morning, because there were so many big Hollywood stars on stage. Steven Spielberg, Steve Carrell, J.J. Abrams, Reese Witherspoon, Jennifer Aniston, and… why am I burying the lede?\u003c/p>\n\u003cp>\u003cem>Oprah!\u003c/em> Why is \u003cem>she\u003c/em> working with Apple to deliver two documentaries and a book club? “Because they’re in a billion pockets, y’all! A billion pockets!” she roared to an adoring crowd.\u003c/p>\n\u003cp>In a reveal that lasted almost two hours, Apple announced major new forays into the worlds of news, gaming and entertainment. All three are mature industries with a lot of competition. But perhaps the tech giant’s gutsiest move is into entertainment. It’s hard to imagine how Apple TV+ — due to arrive sometime this fall — will be qualitatively different from the wide range of content already on offer.\u003c/p>\n\u003cp>See the “sizzle reel” from the Apple presentation.[youtube https://www.youtube.com/watch?v=Bt5k5Ix_wS8]\u003c/p>\n\u003cp>That said, Apple has been late to a game before, and still redefined the field of play. \u003ca href=\"https://www.cnet.com/profiles/iansherr/\" target=\"_blank\" rel=\"noopener\">Ian Sherr\u003c/a>, editor at large at CNET News, has seen it happen several times: with the personal computer, the tablet, and the smart phone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s one of the fascinating things about Apple. They always wait to see what works and what doesn’t, and then they come in and they do their own version of it, and it tends to be really successful,” Sherr said.\u003c/p>\n\u003cp>“Apple’s relationship with customers has started to wane over the past few years as the company has seen the role of its hardware diminish in people’s lives,” said \u003ca href=\"https://www.forrester.com/James-L.-McQuivey\" target=\"_blank\" rel=\"noopener\">James McQuivey\u003c/a>, an analyst at Forrester tracking digital disruption. “Focusing on more media and entertainment experiences that are exclusive to the Apple experience will revivify Apple’s relationship with its customers.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a>, who writes about the business of entertainment for a variety of media outlets, is more skeptical. “While it is hard to underestimate Apple, this moves them into an area where there is much greater competition. Entertainment is widely available at little or no cost, and competitors led by Netfilx and Amazon are already offering more than Apple, even with the star names involved,” Ben Block wrote.\u003c/p>\n\u003cp>He added, “The lesson of Amazon is that they had to offer a lot more than entertainment to get people to sign up for Prime, and they floundered until they had a hit series with \u003cem>Mrs. Maisel\u003c/em> which got people to sign up and continue. Apple needs to find its \u003cem>Mrs. Maisel\u003c/em> quickly or it could lose a ton of money.”\u003c/p>\n\u003cp>But Sherr believes Apple has the wherewithal to go up against the biggest names in streaming entertainment: Netflix, Amazon, and Disney. Notice how two of the three names on that list are also digital natives?\u003c/p>\n\u003cp>[aside postID='arts_13850292,arts_13836539,arts_13852981' label='Related Coverage']The biggest threat, if it ever materializes, would be from federal antitrust regulators. “The tech industry broadly has been going towards this trend of what’s called verticalization, where they own every bit of what I’m buying,” Sherr said.\u003c/p>\n\u003cp>One last thing: Apple is one of the most highly valued companies on the planet. And like its biggest rivals in Silicon Valley, Apple has the capacity to run at a massive loss. Maybe not indefinitely, but for longer than most Hollywood old-timers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There is always room for disruption,” Sherr said. “If Apple does it right.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Live streamers could be forgiven for wondering if the Oscars had moved to the Steve Jobs Theater in Cupertino Monday morning, because there were so many big Hollywood stars on stage. Steven Spielberg, Steve Carrell, J.J. Abrams, Reese Witherspoon, Jennifer Aniston, and… why am I burying the lede?\u003c/p>\n\u003cp>\u003cem>Oprah!\u003c/em> Why is \u003cem>she\u003c/em> working with Apple to deliver two documentaries and a book club? “Because they’re in a billion pockets, y’all! A billion pockets!” she roared to an adoring crowd.\u003c/p>\n\u003cp>In a reveal that lasted almost two hours, Apple announced major new forays into the worlds of news, gaming and entertainment. All three are mature industries with a lot of competition. But perhaps the tech giant’s gutsiest move is into entertainment. It’s hard to imagine how Apple TV+ — due to arrive sometime this fall — will be qualitatively different from the wide range of content already on offer.\u003c/p>\n\u003cp>See the “sizzle reel” from the Apple presentation.\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/Bt5k5Ix_wS8'\n title='//www.youtube.com/embed/Bt5k5Ix_wS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That said, Apple has been late to a game before, and still redefined the field of play. \u003ca href=\"https://www.cnet.com/profiles/iansherr/\" target=\"_blank\" rel=\"noopener\">Ian Sherr\u003c/a>, editor at large at CNET News, has seen it happen several times: with the personal computer, the tablet, and the smart phone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s one of the fascinating things about Apple. They always wait to see what works and what doesn’t, and then they come in and they do their own version of it, and it tends to be really successful,” Sherr said.\u003c/p>\n\u003cp>“Apple’s relationship with customers has started to wane over the past few years as the company has seen the role of its hardware diminish in people’s lives,” said \u003ca href=\"https://www.forrester.com/James-L.-McQuivey\" target=\"_blank\" rel=\"noopener\">James McQuivey\u003c/a>, an analyst at Forrester tracking digital disruption. “Focusing on more media and entertainment experiences that are exclusive to the Apple experience will revivify Apple’s relationship with its customers.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a>, who writes about the business of entertainment for a variety of media outlets, is more skeptical. “While it is hard to underestimate Apple, this moves them into an area where there is much greater competition. Entertainment is widely available at little or no cost, and competitors led by Netfilx and Amazon are already offering more than Apple, even with the star names involved,” Ben Block wrote.\u003c/p>\n\u003cp>He added, “The lesson of Amazon is that they had to offer a lot more than entertainment to get people to sign up for Prime, and they floundered until they had a hit series with \u003cem>Mrs. Maisel\u003c/em> which got people to sign up and continue. Apple needs to find its \u003cem>Mrs. Maisel\u003c/em> quickly or it could lose a ton of money.”\u003c/p>\n\u003cp>But Sherr believes Apple has the wherewithal to go up against the biggest names in streaming entertainment: Netflix, Amazon, and Disney. Notice how two of the three names on that list are also digital natives?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest threat, if it ever materializes, would be from federal antitrust regulators. “The tech industry broadly has been going towards this trend of what’s called verticalization, where they own every bit of what I’m buying,” Sherr said.\u003c/p>\n\u003cp>One last thing: Apple is one of the most highly valued companies on the planet. And like its biggest rivals in Silicon Valley, Apple has the capacity to run at a massive loss. Maybe not indefinitely, but for longer than most Hollywood old-timers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There is always room for disruption,” Sherr said. “If Apple does it right.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Luke Perry, who gained instant heartthrob status as wealthy rebel Dylan McKay on “Beverly Hills, 90210,” died Monday after suffering a massive stroke, his publicist said. He was 52.\u003c/p>\n\u003cp>Perry was surrounded by family and friends when he died, publicist Arnold Robinson said. The actor had been hospitalized since last Wednesday, after a 911 call summoned medical help to his home in the Sherman Oaks section of Los Angeles.\u003c/p>\n\u003cp>“The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning,” Robinson said in a statement. Those at Perry’s bedside included his children, Jake and Sophie; fiancée Wendy Madison Bauer; former wife, Minnie Sharp, and mother Ann Bennett.\u003c/p>\n\u003cp>Perry had played construction company owner Fred Andrews, father of main character Archie Andrews, for three seasons on “Riverdale,” the CW series that gives a dark take on “Archie” comics. A fourth season has been slated.\u003c/p>\n\u003cp>“90210” co-star Ian Ziering \u003ca href=\"https://twitter.com/IanZiering/status/1102636324903927808\" rel=\"noopener\" target=\"_blank\">paid tribute\u003c/a> to his co-star on Twitter. “I will forever bask in the loving memories we’ve shared over the last thirty years,” Ziering said. “May your journey forward be enriched by the magnificent souls who have passed before you, just like you have done here, for those you leave behind.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born and raised in rural Fredericktown, Ohio, Perry gained fame on “Beverly Hills, 90210,” which ran from 1990 to 2000. In a 2006 interview with The Associated Press, he recounted being partly inspired to pursue acting by a photo of Paul Newman his mother kept on her mirror.\u003c/p>\n\u003cp>He played out the memory of hearing his mother say, “He’s the most beautiful man in the world, honey … he’s a movie star.”\u003c/p>\n\u003cp>“I thought, ‘OK, that’s cool.’ I watched him and, yeah, man, who didn’t want to be Paul Newman?”\u003c/p>\n\u003cp>But Perry expanded his interests far beyond acting, identifying history as a passion and family a priority.\u003c/p>\n\u003cp>“When you are younger you can have only work, and I did for a long time,” he told the AP in 2006. “But it doesn’t command my attention that way anymore. A lot of the mysteries and the questions I had about it I’ve figured out, but life offers up mysteries every day.”\u003c/p>\n\u003cp>He had roles in a handful of films, including “The Fifth Element,” ″Buffy the Vampire Slayer,” ″8 Seconds” and “American Strays,” appeared in HBO’s prison drama “Oz” as a televangelist convicted of fraud, and voiced cartoons including “The Incredible Hulk” and “Mortal Kombat.”\u003c/p>\n\u003cp>He made his Broadway musical debut as Brad in the “The Rocky Horror Picture Show,” and starred on London’s West End in another stage adaptation of a film, “When Harry Met Sally.” In recent years he starred in the series “Ties That Bind” and “Body of Proof.”\u003c/p>\n\u003cp>The same day he was hospitalized, Fox TV announced that it would be running a six-episode return of “90210” featuring most of the original cast, but Perry was not among those announced.\u003c/p>\n\u003cp>On the original series, Perry’s character went from loner to part of a close-knit circle that included twins Brenda and Brandon Walsh (Shannen Doherty, Jason Priestley), but also endured a string of romantic, family and other setbacks, including drug addiction. Perry left the series in 1995 to pursue other roles, returning in 1998 for the rest of the show’s run as a guest star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a 2011 interview with the AP, Perry said he and his male co-stars were a “really good strong core group” while the show aired and maintained close ties. The friendship and trust he shared with Priestley created a sort of “shorthand” when it came to filming, Perry said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luke Perry, who gained instant heartthrob status as wealthy rebel Dylan McKay on “Beverly Hills, 90210,” died Monday after suffering a massive stroke, his publicist said. He was 52.\u003c/p>\n\u003cp>Perry was surrounded by family and friends when he died, publicist Arnold Robinson said. The actor had been hospitalized since last Wednesday, after a 911 call summoned medical help to his home in the Sherman Oaks section of Los Angeles.\u003c/p>\n\u003cp>“The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning,” Robinson said in a statement. Those at Perry’s bedside included his children, Jake and Sophie; fiancée Wendy Madison Bauer; former wife, Minnie Sharp, and mother Ann Bennett.\u003c/p>\n\u003cp>Perry had played construction company owner Fred Andrews, father of main character Archie Andrews, for three seasons on “Riverdale,” the CW series that gives a dark take on “Archie” comics. A fourth season has been slated.\u003c/p>\n\u003cp>“90210” co-star Ian Ziering \u003ca href=\"https://twitter.com/IanZiering/status/1102636324903927808\" rel=\"noopener\" target=\"_blank\">paid tribute\u003c/a> to his co-star on Twitter. “I will forever bask in the loving memories we’ve shared over the last thirty years,” Ziering said. “May your journey forward be enriched by the magnificent souls who have passed before you, just like you have done here, for those you leave behind.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in rural Fredericktown, Ohio, Perry gained fame on “Beverly Hills, 90210,” which ran from 1990 to 2000. In a 2006 interview with The Associated Press, he recounted being partly inspired to pursue acting by a photo of Paul Newman his mother kept on her mirror.\u003c/p>\n\u003cp>He played out the memory of hearing his mother say, “He’s the most beautiful man in the world, honey … he’s a movie star.”\u003c/p>\n\u003cp>“I thought, ‘OK, that’s cool.’ I watched him and, yeah, man, who didn’t want to be Paul Newman?”\u003c/p>\n\u003cp>But Perry expanded his interests far beyond acting, identifying history as a passion and family a priority.\u003c/p>\n\u003cp>“When you are younger you can have only work, and I did for a long time,” he told the AP in 2006. “But it doesn’t command my attention that way anymore. A lot of the mysteries and the questions I had about it I’ve figured out, but life offers up mysteries every day.”\u003c/p>\n\u003cp>He had roles in a handful of films, including “The Fifth Element,” ″Buffy the Vampire Slayer,” ″8 Seconds” and “American Strays,” appeared in HBO’s prison drama “Oz” as a televangelist convicted of fraud, and voiced cartoons including “The Incredible Hulk” and “Mortal Kombat.”\u003c/p>\n\u003cp>He made his Broadway musical debut as Brad in the “The Rocky Horror Picture Show,” and starred on London’s West End in another stage adaptation of a film, “When Harry Met Sally.” In recent years he starred in the series “Ties That Bind” and “Body of Proof.”\u003c/p>\n\u003cp>The same day he was hospitalized, Fox TV announced that it would be running a six-episode return of “90210” featuring most of the original cast, but Perry was not among those announced.\u003c/p>\n\u003cp>On the original series, Perry’s character went from loner to part of a close-knit circle that included twins Brenda and Brandon Walsh (Shannen Doherty, Jason Priestley), but also endured a string of romantic, family and other setbacks, including drug addiction. Perry left the series in 1995 to pursue other roles, returning in 1998 for the rest of the show’s run as a guest star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a 2011 interview with the AP, Perry said he and his male co-stars were a “really good strong core group” while the show aired and maintained close ties. The friendship and trust he shared with Priestley created a sort of “shorthand” when it came to filming, Perry said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dear-ex-a-man-dies-leaving-behind-a-wife-a-son-and-a-secret-gay-lover",
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"content": "\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_dyS4iMD0w&feature=youtu.be\u003c/p>\n\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>[contextly_sidebar id=”oOMfIFbUUpwTvC4LCU80NDC52yYXPeBD”]\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she 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/d_dyS4iMD0w'\n title='//www.youtube.com/embed/d_dyS4iMD0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know BD Wong even if you think you don’t: he’s the actor who’s played forensic psychologist George Huang on \u003cem>Law & Order: Special Victims Unit\u003c/em>; Dr. Henry Wu in \u003cem>Jurassic Park\u003c/em>; Father Ray Mukada on \u003cem>Oz\u003c/em> and the voice of Shang in \u003cem>Mulan\u003c/em>. But Wong’s story really begins on the stage: his multiple-award-winning Broadway debut in \u003cem>M. Butterfly\u003c/em>, for one, but even before then, his lead roles in the drama department at Lincoln High School right here in San Francisco.\u003c/p>\n\u003cp>Wong returns to the San Francisco stage in March as a head coach in the basketball drama \u003cem>The Great Leap\u003c/em> at ACT, and he drops by the Asian Art Museum on Feb. 14 for a discussion about the play, his enduring career (he \u003ca href=\"https://www.facebook.com/BDWongFanpage/photos/a.136481546395923/2297703246940398/?type=3&theater\" rel=\"noopener\" target=\"_blank\">most recently appeared in \u003cem>Bird Box\u003c/em>\u003c/a>), and his life growing up in San Francisco. But it’s also Valentine’s Day on Thursday, and I’ve got my money on Wong opening up a little about his love life, too—he just married his partner of eight years this past October. It starts at 6:30pm, and general admission tickets are $25. \u003ca href=\"http://www.asianart.org/events/1593\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know BD Wong even if you think you don’t: he’s the actor who’s played forensic psychologist George Huang on \u003cem>Law & Order: Special Victims Unit\u003c/em>; Dr. Henry Wu in \u003cem>Jurassic Park\u003c/em>; Father Ray Mukada on \u003cem>Oz\u003c/em> and the voice of Shang in \u003cem>Mulan\u003c/em>. But Wong’s story really begins on the stage: his multiple-award-winning Broadway debut in \u003cem>M. Butterfly\u003c/em>, for one, but even before then, his lead roles in the drama department at Lincoln High School right here in San Francisco.\u003c/p>\n\u003cp>Wong returns to the San Francisco stage in March as a head coach in the basketball drama \u003cem>The Great Leap\u003c/em> at ACT, and he drops by the Asian Art Museum on Feb. 14 for a discussion about the play, his enduring career (he \u003ca href=\"https://www.facebook.com/BDWongFanpage/photos/a.136481546395923/2297703246940398/?type=3&theater\" rel=\"noopener\" target=\"_blank\">most recently appeared in \u003cem>Bird Box\u003c/em>\u003c/a>), and his life growing up in San Francisco. But it’s also Valentine’s Day on Thursday, and I’ve got my money on Wong opening up a little about his love life, too—he just married his partner of eight years this past October. It starts at 6:30pm, and general admission tickets are $25. \u003ca href=\"http://www.asianart.org/events/1593\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=4tLhstodpFI]\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>\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/4tLhstodpFI'\n title='//www.youtube.com/embed/4tLhstodpFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "kims-convenience-is-a-sitcom-about-asian-immigrants-with-depth",
"title": "'Kim's Convenience' Is A Sitcom About Asian Immigrants — With Depth",
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"headTitle": "‘Kim’s Convenience’ Is A Sitcom About Asian Immigrants — With Depth | KQED",
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"content": "\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘SpongeBob’ Creator Stephen Hillenburg Dies at 57",
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"content": "\u003cp>Stephen Hillenburg, who created SpongeBob SquarePants and the absurd undersea world he inhabited, has died at age 57, Nickelodeon announced Tuesday. Hillenburg died Monday of Lou Gehrig’s disease, also known as ALS, the cable network said in a statement. He was 57.\u003c/p>\n\u003cp>Hillenburg had announced he had the disease in March 2017. His death comes just weeks after the passing of another cartoon hero in Marvel creator Stan Lee.\u003c/p>\n\u003cp>An Oklahoma native with a love of both drawing and marine biology, Hillenburg conceived, wrote, produced and directed the animated series that began in 1999 and went on to spawn hundreds of episodes, movies and a Broadway show.\u003c/p>\n\u003cp>“He was a beloved friend and long-time creative partner to everyone at Nickelodeon, and our hearts go out to his entire family,” Nickelodeon’s statement said. “Steve imbued ‘SpongeBob SquarePants’ with a unique sense of humor and innocence that has brought joy to generations of kids and families everywhere. His utterly original characters and the world of Bikini Bottom will long stand as a reminder of the value of optimism, friendship and the limitless power of imagination.”\u003c/p>\n\u003cp>The absurdly jolly SpongeBob, his starfish sidekick Patrick, and a vast cast of oceanic creatures quickly appealed to college kids and parents as much as it did kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Hillenburg, who created SpongeBob SquarePants and the absurd undersea world he inhabited, has died at age 57, Nickelodeon announced Tuesday. Hillenburg died Monday of Lou Gehrig’s disease, also known as ALS, the cable network said in a statement. He was 57.\u003c/p>\n\u003cp>Hillenburg had announced he had the disease in March 2017. His death comes just weeks after the passing of another cartoon hero in Marvel creator Stan Lee.\u003c/p>\n\u003cp>An Oklahoma native with a love of both drawing and marine biology, Hillenburg conceived, wrote, produced and directed the animated series that began in 1999 and went on to spawn hundreds of episodes, movies and a Broadway show.\u003c/p>\n\u003cp>“He was a beloved friend and long-time creative partner to everyone at Nickelodeon, and our hearts go out to his entire family,” Nickelodeon’s statement said. “Steve imbued ‘SpongeBob SquarePants’ with a unique sense of humor and innocence that has brought joy to generations of kids and families everywhere. His utterly original characters and the world of Bikini Bottom will long stand as a reminder of the value of optimism, friendship and the limitless power of imagination.”\u003c/p>\n\u003cp>The absurdly jolly SpongeBob, his starfish sidekick Patrick, and a vast cast of oceanic creatures quickly appealed to college kids and parents as much as it did kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\u003c/p>\n\u003cp>https://youtu.be/LJIxCxHD-UQ\u003c/p>\n\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\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/LJIxCxHD-UQ'\n title='//www.youtube.com/embed/LJIxCxHD-UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The puppeteer who has played Big Bird on \u003cem>Sesame Street\u003c/em> is retiring after nearly 50 years on the show.\u003c/p>\n\u003cp>Caroll Spinney \u003ca href=\"https://www.nytimes.com/2018/10/17/arts/television/sesame-street-big-bird.html\" rel=\"noopener\" target=\"_blank\">tells the \u003cem>New York Times\u003c/em>\u003c/a> that Thursday will be his last day on the program, which he joined from the start in 1969. In addition to Big Bird, the 84-year-old was also Oscar the Grouch.\u003c/p>\n\u003cp>“I always thought,” Spinney says, “how fortunate for me that I got to play the two best Muppets?” \u003c/p>\n\u003cp>Spinney says the physical requirements of performing the characters had become difficult and he developed problems with his balance. He stopped doing the puppeteering for Big Bird in 2015 and now only provides the voices for him and Oscar.\u003c/p>\n\u003cp>Spinney was the subject of an acclaimed documentary, \u003cem>I Am Big Bird: The Carol Spinney Story\u003c/em>, in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His apprentice Matt Vogel, who also plays Kermit the Frog, will succeed him in the Big Bird role. \u003c/p>\n\n",
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"content": "\u003cp>Perhaps you’re one of the legions ready to binge-watch season two of the crime thriller \u003ca href=\"https://www.netflix.com/title/80115328\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacred Games\u003c/em>\u003c/a> on Netflix. Season one has proved so popular, the ever expanding streaming video giant is game to bet millions producing another series following the exploits of policeman Sartaj Singh (played by Saif Ali Khan).\u003c/p>\n\u003cp>The show is based on the 2006 novel by \u003ca href=\"https://english.berkeley.edu/users/22\" target=\"_blank\" rel=\"noopener\">Vikram Chandra\u003c/a>, a modern-day Raymond Chandler whose main character in this epic is the city of Mumbai, or at least its seamy underbelly, teaming with chatty, charismatic killers and brooding cops.\u003c/p>\n\u003cp>Perhaps less known is the fact Chandra is a professor at UC Berkeley. He splits his time between Mumbai and Oakland, and he’ll be speaking at panel discussion on technology in entertainment this weekend as part of \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">The Bay Area South Asian Film Festival\u003c/a>.[youtube https://www.youtube.com/watch?v=28j8h0RRov4]\u003c/p>\n\u003cp>This is the festival’s debut, which demonstrates a conversation happening across the Pacific between South Asia and the South Asian diaspora here in the San Francisco Bay Area.\u003c/p>\n\u003cp>Aniruddha Dasgupta is festival director, when he’s not working his day job as director of product engineering at Visa. His work putting the festival together, he says, is “my way of actively engaging myself — and also a few other people” seeking entertainment, but also inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dasgupta says, “We wanted to select films which talk about diversity, innovation and also how we can encourage the next gen[eration of] storytellers.”\u003c/p>\n\u003cp>To that end, this festival is a showcase for politically relevant topics like \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/02/28/suspect-in-kansas-bar-shooting-of-indians-apparently-thought-they-were-iranians/\" target=\"_blank\" rel=\"noopener\">racially motivated violence\u003c/a> and LGBTQ rights. The one documentary on the schedule, Sangeeta Datta’s \u003ci>Bird of Dusk\u003c/i>, profiles a prolific Bengali filmmaker who was also one of the few openly gay figures in Indian cinema.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oqIDoz3nRz8]\u003c/p>\n\u003cp>Before his death in 2013 at 49, Rituparno Ghosh created close to two dozen films, some of which now rest alongside the work of his cinematic idols, Satyajit Ray and Aparna Sen.\u003c/p>\n\u003cp>Some of the feature films and shorts at the festival are available online, but it’s more exciting to watch in a theater filled with hundreds of people primed to celebrate South Asian creativity across the Pacific and here at home.\u003c/p>\n\u003cp>“You get to be sitting in a seat with someone who is as appreciative or more appreciative than you, and so the collective energy in the room starts to matter,” says Vinita Sud Belani, artistic director and founder of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/production/queen/\" target=\"_blank\" rel=\"noopener\">EnActe Arts\u003c/a>, which is performing at the festival.\u003c/p>\n\u003cp>\u003cem>Queen\u003c/em> is a play about two UC Santa Cruz scientists days away from a publishing a paper when they discover a troubling anomaly in their last batch of data. The title of the play refers to the subject their study: colony collapse disorder, the phenomenon that occurs when the majority of worker bees in a colony disappear.\u003c/p>\n\u003cp>The play was written by Madhuri Shekar, who was born in the Bay Area. “We’ve done a play of hers before,” Belani says of Shekar. “She was in her twenties when she started writing theater, and she’s really going places.”\u003c/p>\n\u003cfigure id=\"attachment_13841426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841426 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg\" alt=\"The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts.\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1200x767.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-520x332.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts. \u003ccite>(Photo: Courtesy of EnActe Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EnActe will perform \u003cem>Queen\u003c/em> again next weekend at DeAnza College’s Visual and Performing Arts Center in Cupertino, where UC Santa Cruz is partnering with the theater company to put on a panel discussion about the topic the play’s researchers are focused on.\u003c/p>\n\u003cp>“There are three women scientists who are going to talk about the reality of being scientists,” Belani says.\u003c/p>\n\u003cp>Altogether, it’s a promising start for a festival produced and tailored to anticipate the interests of a local South Asian audience here in Silicon Valley. Stay tuned to see if there’s a “season two” for the \u003cem>Bay Area South Asian Film Festival\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Bay Area South Asian Film Festival\u003c/strong> runs through Sept. 23, 2018 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"title": "Bay Area South Asian Film Festival Showcases Talent on Both Sides of the Pacific | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps you’re one of the legions ready to binge-watch season two of the crime thriller \u003ca href=\"https://www.netflix.com/title/80115328\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacred Games\u003c/em>\u003c/a> on Netflix. Season one has proved so popular, the ever expanding streaming video giant is game to bet millions producing another series following the exploits of policeman Sartaj Singh (played by Saif Ali Khan).\u003c/p>\n\u003cp>The show is based on the 2006 novel by \u003ca href=\"https://english.berkeley.edu/users/22\" target=\"_blank\" rel=\"noopener\">Vikram Chandra\u003c/a>, a modern-day Raymond Chandler whose main character in this epic is the city of Mumbai, or at least its seamy underbelly, teaming with chatty, charismatic killers and brooding cops.\u003c/p>\n\u003cp>Perhaps less known is the fact Chandra is a professor at UC Berkeley. He splits his time between Mumbai and Oakland, and he’ll be speaking at panel discussion on technology in entertainment this weekend as part of \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">The Bay Area South Asian Film Festival\u003c/a>.\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/28j8h0RRov4'\n title='//www.youtube.com/embed/28j8h0RRov4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is the festival’s debut, which demonstrates a conversation happening across the Pacific between South Asia and the South Asian diaspora here in the San Francisco Bay Area.\u003c/p>\n\u003cp>Aniruddha Dasgupta is festival director, when he’s not working his day job as director of product engineering at Visa. His work putting the festival together, he says, is “my way of actively engaging myself — and also a few other people” seeking entertainment, but also inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dasgupta says, “We wanted to select films which talk about diversity, innovation and also how we can encourage the next gen[eration of] storytellers.”\u003c/p>\n\u003cp>To that end, this festival is a showcase for politically relevant topics like \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/02/28/suspect-in-kansas-bar-shooting-of-indians-apparently-thought-they-were-iranians/\" target=\"_blank\" rel=\"noopener\">racially motivated violence\u003c/a> and LGBTQ rights. The one documentary on the schedule, Sangeeta Datta’s \u003ci>Bird of Dusk\u003c/i>, profiles a prolific Bengali filmmaker who was also one of the few openly gay figures in Indian cinema.\u003c/p>\n\u003cp>\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/oqIDoz3nRz8'\n title='//www.youtube.com/embed/oqIDoz3nRz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Before his death in 2013 at 49, Rituparno Ghosh created close to two dozen films, some of which now rest alongside the work of his cinematic idols, Satyajit Ray and Aparna Sen.\u003c/p>\n\u003cp>Some of the feature films and shorts at the festival are available online, but it’s more exciting to watch in a theater filled with hundreds of people primed to celebrate South Asian creativity across the Pacific and here at home.\u003c/p>\n\u003cp>“You get to be sitting in a seat with someone who is as appreciative or more appreciative than you, and so the collective energy in the room starts to matter,” says Vinita Sud Belani, artistic director and founder of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/production/queen/\" target=\"_blank\" rel=\"noopener\">EnActe Arts\u003c/a>, which is performing at the festival.\u003c/p>\n\u003cp>\u003cem>Queen\u003c/em> is a play about two UC Santa Cruz scientists days away from a publishing a paper when they discover a troubling anomaly in their last batch of data. The title of the play refers to the subject their study: colony collapse disorder, the phenomenon that occurs when the majority of worker bees in a colony disappear.\u003c/p>\n\u003cp>The play was written by Madhuri Shekar, who was born in the Bay Area. “We’ve done a play of hers before,” Belani says of Shekar. “She was in her twenties when she started writing theater, and she’s really going places.”\u003c/p>\n\u003cfigure id=\"attachment_13841426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841426 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg\" alt=\"The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts.\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1200x767.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-520x332.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts. \u003ccite>(Photo: Courtesy of EnActe Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EnActe will perform \u003cem>Queen\u003c/em> again next weekend at DeAnza College’s Visual and Performing Arts Center in Cupertino, where UC Santa Cruz is partnering with the theater company to put on a panel discussion about the topic the play’s researchers are focused on.\u003c/p>\n\u003cp>“There are three women scientists who are going to talk about the reality of being scientists,” Belani says.\u003c/p>\n\u003cp>Altogether, it’s a promising start for a festival produced and tailored to anticipate the interests of a local South Asian audience here in Silicon Valley. Stay tuned to see if there’s a “season two” for the \u003cem>Bay Area South Asian Film Festival\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Bay Area South Asian Film Festival\u003c/strong> runs through Sept. 23, 2018 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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