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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/1178498/1178499\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Fifty years ago Monday,\u003cstrong> \u003c/strong>when Fred Rogers showed up on national public television as the host of what then was a brand new children’s show called \u003cem>Mister Rogers’ Neighborhood,\u003c/em> TV was a lot different. PBS wasn’t even a network then — not by that name, anyway — and aside from CBS, NBC and ABC, there were only a few independent local channels to watch, if that.\u003c/p>\n\u003cp>But 50 years ago, young kids were pretty much the same. I interviewed Fred Rogers a few times over the years, and one time I asked him about the secret of his success — why his slow, deliberate manner of relating to children, and why seeming to look at them and talk to them directly through the TV lens, connected so strongly with young viewers. This is what he told me:\u003c/p>\n\u003cblockquote>\n\u003cp>Every one of us longs to be in touch with honesty. … I think we’re really attracted to people who will share some of their real self with us.\u003c/p>\n\u003c/blockquote>\n\u003cp>Rogers shared his real self with us from that very first day of \u003cem>Mister Rogers’ Neighborhood,\u003c/em> on Feb. 19, 1968, when he went national on public TV, removed his jacket and dress shoes, slipped on a sweater and sneakers and talked gently about tying shoelaces.\u003c/p>\n\u003cp>\u003cem>Mister Rogers’ Neighborhood\u003c/em> was all about encouragement and support. It loved to educate kids a little, inspire them a lot and, when necessary, calm them down a bit about what may be unspoken fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That first week of \u003cem>Mister Rogers\u003c/em> was about change — even in the Neighborhood of Make Believe, where a puppet ruler named King Friday XIII was upset that his subjects were moving their homes around his kingdom. In this week-long story, King Friday becomes so upset that he orders a big wall to be built around the castle to keep everyone out. But eventually, the ruler decides he had nothing to fear and takes down the wall.\u003c/p>\n\u003cp>That was a reassuring story then, and Fred Rogers had hundreds of others. He could calm little kids by telling them they were too big to slip down the bathtub drain, but he also tackled more serious subjects.\u003c/p>\n\u003cp>In the summer of 1968, he took to prime time and had one of his most beloved hand puppet characters, Daniel Striped Tiger, asking for a definition of the word “assassination.” Robert F. Kennedy had just been shot and killed — and Rogers thought even very little children would pick up on how upset the grown-ups around them were, and deserved to be talked to and reassured a little.\u003c/p>\n\u003cp>And at a time when, once again, politicians are talking about defunding public television, it should be noted that Rogers went to Washington to testify before Congress in 1969 about why public TV was so important to young viewers — and to beg for $20 million in public funding.\u003c/p>\n\u003cp>Rogers appeared before gruff committee chair Sen. John Pastore. He described his show, sang a song and recited some poetry — and when he finished, the senator told him he’d earned the $20 million.\u003c/p>\n\u003cp>Fifty years later, the work and legacy of Fred Rogers has not been forgotten. The Fred Rogers Center, where I currently serve on the advisory board, aims to seek out and support new approaches to education and entertainment in the Rogers spirit.\u003c/p>\n\u003cp>The TV company that bears his name continues to produce programs, including the animated\u003cem> Daniel Tiger’s Neighborhood\u003c/em>. You can still get boxed DVD sets of some of the \u003cem>Mister Rogers\u003c/em> shows and specials, which ran on PBS until 2001, two years before his death.\u003c/p>\n\u003cp>And in this golden anniversary year of \u003cem>Mister Rogers’ Neighborhood\u003c/em>, there are many other plans afoot. Monday in his hometown, Latrobe, Pa., St. Vincent College is scheduled to host a screening of the very first \u003cem>Neighborhood\u003c/em> episode. The PBS KIDS network plans to pair other vintage episodes of \u003cem>Mister Rogers’ Neighborhood\u003c/em> with their cartoon \u003cem>Daniel Tig\u003c/em>er equivalents. PBS will also present a retrospective special salute in March, and a new documentary, Morgan Neville’s \u003cem>Won’t You Be My Neighbor?\u003c/em>, is scheduled to be released in theaters nationwide in June.\u003c/p>\n\u003cp>There’s a new biography due in September, the U.S. Postal Service is \u003ca href=\"https://www.npr.org/2018/02/07/583970831/mister-rogers-will-appear-forever-on-a-stamp\">issuing a Fred Rogers stamp\u003c/a> and it’s just been announced that \u003ca href=\"http://variety.com/2018/film/news/tom-hanks-mr-rogers-you-are-my-friend-tristar-1202676746/\">there’s a movie in the works\u003c/a>, with Tom Hanks set to play Rogers. That’s kind of perfect: One of the most-loved children’s hosts in TV history played by one of the most-loved actors in movie history.\u003c/p>\n\u003cp>It’s a lot of fuss, especially for a man who didn’t like to draw attention to himself. But Rogers deserves it. And today, our children’s children still deserve — and need — Fred Rogers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click the audio link above to hear Terry Gross’ 1984 interview with Rogers. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+A+Beautiful+50th+Birthday+For+%27Mister+Rogers%27+Neighborhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That first week of \u003cem>Mister Rogers\u003c/em> was about change — even in the Neighborhood of Make Believe, where a puppet ruler named King Friday XIII was upset that his subjects were moving their homes around his kingdom. In this week-long story, King Friday becomes so upset that he orders a big wall to be built around the castle to keep everyone out. But eventually, the ruler decides he had nothing to fear and takes down the wall.\u003c/p>\n\u003cp>That was a reassuring story then, and Fred Rogers had hundreds of others. He could calm little kids by telling them they were too big to slip down the bathtub drain, but he also tackled more serious subjects.\u003c/p>\n\u003cp>In the summer of 1968, he took to prime time and had one of his most beloved hand puppet characters, Daniel Striped Tiger, asking for a definition of the word “assassination.” Robert F. Kennedy had just been shot and killed — and Rogers thought even very little children would pick up on how upset the grown-ups around them were, and deserved to be talked to and reassured a little.\u003c/p>\n\u003cp>And at a time when, once again, politicians are talking about defunding public television, it should be noted that Rogers went to Washington to testify before Congress in 1969 about why public TV was so important to young viewers — and to beg for $20 million in public funding.\u003c/p>\n\u003cp>Rogers appeared before gruff committee chair Sen. John Pastore. He described his show, sang a song and recited some poetry — and when he finished, the senator told him he’d earned the $20 million.\u003c/p>\n\u003cp>Fifty years later, the work and legacy of Fred Rogers has not been forgotten. The Fred Rogers Center, where I currently serve on the advisory board, aims to seek out and support new approaches to education and entertainment in the Rogers spirit.\u003c/p>\n\u003cp>The TV company that bears his name continues to produce programs, including the animated\u003cem> Daniel Tiger’s Neighborhood\u003c/em>. You can still get boxed DVD sets of some of the \u003cem>Mister Rogers\u003c/em> shows and specials, which ran on PBS until 2001, two years before his death.\u003c/p>\n\u003cp>And in this golden anniversary year of \u003cem>Mister Rogers’ Neighborhood\u003c/em>, there are many other plans afoot. Monday in his hometown, Latrobe, Pa., St. Vincent College is scheduled to host a screening of the very first \u003cem>Neighborhood\u003c/em> episode. The PBS KIDS network plans to pair other vintage episodes of \u003cem>Mister Rogers’ Neighborhood\u003c/em> with their cartoon \u003cem>Daniel Tig\u003c/em>er equivalents. PBS will also present a retrospective special salute in March, and a new documentary, Morgan Neville’s \u003cem>Won’t You Be My Neighbor?\u003c/em>, is scheduled to be released in theaters nationwide in June.\u003c/p>\n\u003cp>There’s a new biography due in September, the U.S. Postal Service is \u003ca href=\"https://www.npr.org/2018/02/07/583970831/mister-rogers-will-appear-forever-on-a-stamp\">issuing a Fred Rogers stamp\u003c/a> and it’s just been announced that \u003ca href=\"http://variety.com/2018/film/news/tom-hanks-mr-rogers-you-are-my-friend-tristar-1202676746/\">there’s a movie in the works\u003c/a>, with Tom Hanks set to play Rogers. That’s kind of perfect: One of the most-loved children’s hosts in TV history played by one of the most-loved actors in movie history.\u003c/p>\n\u003cp>It’s a lot of fuss, especially for a man who didn’t like to draw attention to himself. But Rogers deserves it. And today, our children’s children still deserve — and need — Fred Rogers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click the audio link above to hear Terry Gross’ 1984 interview with Rogers. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+A+Beautiful+50th+Birthday+For+%27Mister+Rogers%27+Neighborhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jeffrey Tambor, Emmy-winning star of \u003cem>Transparent\u003c/em>, will not be returning to the cast for the show’s upcoming fifth season. Amazon Studios confirmed the actor’s departure to NPR on Thursday.\u003c/p>\n\u003cp>The announcement comes several months after multiple claims of sexual misconduct surfaced against Tambor, who played trans woman Maura Pfefferman in the Amazon Studio series. As NPR’s Emma Bowman \u003ca href=\"https://www.npr.org/565254200\" target=\"_blank\" rel=\"noopener\">reported in November\u003c/a>, Tambor had been accused of groping his former assistant, transgender actress Van Barnes, and making inappropriate sexual advances on transgender co-star Trace Lysette.\u003c/p>\n\u003cp>“I have great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on \u003cem>Transparent \u003c/em>is an example of the leadership this moment in our culture requires,” show creator and co-writer Jill Soloway said in a statement to NPR.\u003c/p>\n\u003cp>“We are grateful to the many trans people who have supported our vision for \u003cem>Transparent \u003c/em>since its inception,” Soloway continued, “and remain heartbroken about the pain and mistrust their experience has generated in our community. We are taking definitive action to ensure our workplace respects the safety and dignity of every individual, and are taking steps to heal as a family.”\u003c/p>\n\u003cp>Tambor has apologized for any inadvertent misbehavior but has denied the allegations against him, which he called “simply and utterly untrue.” And even in November, he signaled in a statement that his time with the show may be ending: “Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both Tambor and Soloway have won multiple Emmys for their work on the show — Tambor for lead acting and Soloway for directing \u003ca href=\"https://www.emmys.com/shows/transparent\">in 2015 and 2016\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Studios did not immediately comment further beyond confirming the move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeffrey+Tambor+Officially+Exits+%27Transparent%27+Following+Claims+Of+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jeffrey Tambor, Emmy-winning star of \u003cem>Transparent\u003c/em>, will not be returning to the cast for the show’s upcoming fifth season. Amazon Studios confirmed the actor’s departure to NPR on Thursday.\u003c/p>\n\u003cp>The announcement comes several months after multiple claims of sexual misconduct surfaced against Tambor, who played trans woman Maura Pfefferman in the Amazon Studio series. As NPR’s Emma Bowman \u003ca href=\"https://www.npr.org/565254200\" target=\"_blank\" rel=\"noopener\">reported in November\u003c/a>, Tambor had been accused of groping his former assistant, transgender actress Van Barnes, and making inappropriate sexual advances on transgender co-star Trace Lysette.\u003c/p>\n\u003cp>“I have great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on \u003cem>Transparent \u003c/em>is an example of the leadership this moment in our culture requires,” show creator and co-writer Jill Soloway said in a statement to NPR.\u003c/p>\n\u003cp>“We are grateful to the many trans people who have supported our vision for \u003cem>Transparent \u003c/em>since its inception,” Soloway continued, “and remain heartbroken about the pain and mistrust their experience has generated in our community. We are taking definitive action to ensure our workplace respects the safety and dignity of every individual, and are taking steps to heal as a family.”\u003c/p>\n\u003cp>Tambor has apologized for any inadvertent misbehavior but has denied the allegations against him, which he called “simply and utterly untrue.” And even in November, he signaled in a statement that his time with the show may be ending: “Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both Tambor and Soloway have won multiple Emmys for their work on the show — Tambor for lead acting and Soloway for directing \u003ca href=\"https://www.emmys.com/shows/transparent\">in 2015 and 2016\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Studios did not immediately comment further beyond confirming the move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeffrey+Tambor+Officially+Exits+%27Transparent%27+Following+Claims+Of+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor John Mahoney, best-known for his portrayal of the grouchy and sharp-witted father of the title character in the TV show \u003cem>Frasier,\u003c/em> died Sunday. He was 77.\u003c/p>\n\u003cp>The Steppenwolf Theatre Company confirmed his death, saying in a statement, “John Mahoney passed away due to complications from cancer while in hospice care on Sunday.” \u003c/p>\n\u003cp>For 11 years, from 1993 to 2004, Mahoney played the blue-collar, retired-cop foil to Kelsey Grammer and David Hyde Pierce, his dandy and effete sons on the NBC hit show. \u003c/p>\n\u003cp>Over his career he earned two supporting-actor Emmy nominations and two Golden Globe Award nominations for his role as Martin Crane. On the stage, he won a Tony for his performance in a revival of \u003cem>The House of Blue Leaves \u003c/em>in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chicagotribune.com/entertainment/theater/news/ct-ent-john-mahoney-dead-steppenwolf-frasier-20180205-story.html\">According \u003c/a>to the \u003cem>Chicago Tribune,\u003c/em> Mahoney, who was born in Manchester, England, and moved to the U.S. at 19, became a professional actor somewhat late in life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor John Mahoney, best-known for his portrayal of the grouchy and sharp-witted father of the title character in the TV show \u003cem>Frasier,\u003c/em> died Sunday. He was 77.\u003c/p>\n\u003cp>The Steppenwolf Theatre Company confirmed his death, saying in a statement, “John Mahoney passed away due to complications from cancer while in hospice care on Sunday.” \u003c/p>\n\u003cp>For 11 years, from 1993 to 2004, Mahoney played the blue-collar, retired-cop foil to Kelsey Grammer and David Hyde Pierce, his dandy and effete sons on the NBC hit show. \u003c/p>\n\u003cp>Over his career he earned two supporting-actor Emmy nominations and two Golden Globe Award nominations for his role as Martin Crane. On the stage, he won a Tony for his performance in a revival of \u003cem>The House of Blue Leaves \u003c/em>in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chicagotribune.com/entertainment/theater/news/ct-ent-john-mahoney-dead-steppenwolf-frasier-20180205-story.html\">According \u003c/a>to the \u003cem>Chicago Tribune,\u003c/em> Mahoney, who was born in Manchester, England, and moved to the U.S. at 19, became a professional actor somewhat late in life. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2017 Has Been A Great Year For Women In TV",
"headTitle": "2017 Has Been A Great Year For Women In TV | KQED",
"content": "\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Female performers, producers and writers brought some amazing projects to screens this year, including \u003cem>The Handmaid's Tale, Better Things \u003c/em>and \u003cem>The Marvelous Mrs. Maisel.\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Errol Morris Plumbs Dark, Familiar Depths in ‘Wormwood’",
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"content": "\u003cp>Obsessive protagonist? Check. True-crime investigation? Check. Stylized reenactments? Check. Government deceit and malfeasance? Check.\u003c/p>\n\u003cp>Errol Morris’ immersive new documentary, the Cold War-suffused \u003cem>Wormwood\u003c/em> (premiering Dec. 15, 2017 on Netflix), is a lavishly illustrated compilation of his favorite themes, tropes and tics going back nearly three decades to \u003cem>The Thin Blue Line\u003c/em>. But the craft, diligence and sculpted artifice that Morris brings to bear risks obscuring as much as it reveals about the bizarre death of Dr. Frank Olson, a civilian scientist employed on a shadowy U.S. Army project at Ft. Dietrich, Maryland.\u003c/p>\n\u003cp>“It’s a battlefield in this story,” Morris says, “because as people are struggling to make sense of the story, people at the same time are trying to cover up the story, to obfuscate the story, to sweep the story — not to use too many metaphors — under the rug. So it’s a powerful story about cover-up, and I find [journalist] Sy Hersh in the end really, really, really interesting when he talks about maybe you can’t prove, in the sense of crossing all of the t’s and dotting all of the i’s, what happened here. But we pretty much know it.”\u003c/p>\n\u003cp>Dr. Olson jumped, fell or was pushed to his death from the window of his 13th-floor Manhattan hotel room the last week of November, 1953. The police report called it a suicide, and Morris devotes nearly four hours across six episodes delineating the evolution, shall we say, of the official explanations.\u003c/p>\n\u003cp>Our rock-steady guide through \u003cem>Wormwood\u003c/em> is the deeply intelligent and still-tormented Eric Olson, who was nine years old when his father died. He has probed and pursued official records and off-the-record reports for decades with an unrelenting persistence that occasionally tipped into self-destructive mania.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morris interviews Olson beneath a clock set at the time of his father’s demise, a visual representation that Eric’s life stopped in a real, palpable way at that moment. \u003cem>Wormwood\u003c/em> takes its title from a speech by Hamlet, the most famously tormented — and endlessly betrayed and lied-to — son of a prematurely deceased man in literature.\u003c/p>\n\u003cp>“I made the mistake once of saying to Eric — actually, I thought it was a nice thing to say — that my father died when I was two years old of a massive heart attack,” Morris recalls. “And he said, ‘How dare you compare yourself with me.’ I spent a lot of time with Eric Olson. I understand Eric. Maybe I know a lot more about him than I know about most people. But I would not say that I can understand the nature of this obsession. It’s fascinating, and powerful. And there is something about losing a parent when you are very, very young. Particularly if you’ve been lied to. All of Eric’s life — and maybe that’s the story of history — was trying to penetrate this grotesque cover-up.”\u003c/p>\n\u003cp>https://youtu.be/b01DL8DTUGM\u003c/p>\n\u003cp>Morris worked for three years as a private investigator during a fallow period in the ‘80s before he encountered the Death Row inmate who inspired \u003cem>The Thin Blue Line\u003c/em>. The documentary had a pivotal effect on the case, but generated more attention and controversy for its use of reenactments. (Morris used to call them “enactments” because they didn’t depict what actually happened but what people falsely stated they saw or thought they witnessed.)\u003c/p>\n\u003cp>“I’ve said this so many times I feel like a broken record,” a jet-lagged Morris says in a late-October conversation while \u003cem>Wormwood\u003c/em> screens nearby at the Vogue Theatre, “but I’ll say it again: Reality isn’t given to us on a tray like a Happy Meal. It is something that we search for, we investigate, we look here, we look there, we compare this fact with that fact, this piece of evidence with that piece of evidence. When I was accused by various people at the time of the release of \u003ci>The Thin Blue Line\u003c/i> that reenactments should not be part of documentary filmmaking, my retort was that it’s all a reenactment.”\u003c/p>\n\u003cp>Morris takes a breath, and his measured pace accelerates a bit.\u003c/p>\n\u003cp>“Consciousness is a reenactment of the world inside of our skulls. We don’t have any direct access to the world around us. We know it’s there, but we piece it together. Consciousness is a collage, a collage which is constantly being tested to see if we are living in some kind of dream or in the world.\u003c/p>\n\u003cp>“I know this movie addresses so many of my philosophical concerns in one way or another. The focus in \u003ci>Wormwood\u003c/i>, whatever genre it belongs to, is finding the truth. There is a truth to be uncovered in the world. Maybe it’s endlessly elusive, but it’s my job to go after it. And anything you bring to bear is fair game, if drama helps you understand it, if reenactment helps you understand it, if archival footage helps you understand it.”\u003c/p>\n\u003cp>The University of Chicago Press is publishing a collection of Morris’ essays in the spring, \u003cem>The Ashtray (or The Man Who Denied Reality)\u003c/em>, in which he expounds on and grapples with the notion and importance of truth. Presumably Morris states, as he does in numerous ways and from numerous angles in \u003cem>Wormwood\u003c/em>, that history may be a construct and memory subjective, but truth is a goal that should never be abandoned.\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\u003cp>\u003ci>‘Wormwood’ premieres Dec. 15, 2017 on Netflix. \u003ca href=\"https://www.netflix.com/title/80059446\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Obsessive protagonist? Check. True-crime investigation? Check. Stylized reenactments? Check. Government deceit and malfeasance? Check.\u003c/p>\n\u003cp>Errol Morris’ immersive new documentary, the Cold War-suffused \u003cem>Wormwood\u003c/em> (premiering Dec. 15, 2017 on Netflix), is a lavishly illustrated compilation of his favorite themes, tropes and tics going back nearly three decades to \u003cem>The Thin Blue Line\u003c/em>. But the craft, diligence and sculpted artifice that Morris brings to bear risks obscuring as much as it reveals about the bizarre death of Dr. Frank Olson, a civilian scientist employed on a shadowy U.S. Army project at Ft. Dietrich, Maryland.\u003c/p>\n\u003cp>“It’s a battlefield in this story,” Morris says, “because as people are struggling to make sense of the story, people at the same time are trying to cover up the story, to obfuscate the story, to sweep the story — not to use too many metaphors — under the rug. So it’s a powerful story about cover-up, and I find [journalist] Sy Hersh in the end really, really, really interesting when he talks about maybe you can’t prove, in the sense of crossing all of the t’s and dotting all of the i’s, what happened here. But we pretty much know it.”\u003c/p>\n\u003cp>Dr. Olson jumped, fell or was pushed to his death from the window of his 13th-floor Manhattan hotel room the last week of November, 1953. The police report called it a suicide, and Morris devotes nearly four hours across six episodes delineating the evolution, shall we say, of the official explanations.\u003c/p>\n\u003cp>Our rock-steady guide through \u003cem>Wormwood\u003c/em> is the deeply intelligent and still-tormented Eric Olson, who was nine years old when his father died. He has probed and pursued official records and off-the-record reports for decades with an unrelenting persistence that occasionally tipped into self-destructive mania.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morris interviews Olson beneath a clock set at the time of his father’s demise, a visual representation that Eric’s life stopped in a real, palpable way at that moment. \u003cem>Wormwood\u003c/em> takes its title from a speech by Hamlet, the most famously tormented — and endlessly betrayed and lied-to — son of a prematurely deceased man in literature.\u003c/p>\n\u003cp>“I made the mistake once of saying to Eric — actually, I thought it was a nice thing to say — that my father died when I was two years old of a massive heart attack,” Morris recalls. “And he said, ‘How dare you compare yourself with me.’ I spent a lot of time with Eric Olson. I understand Eric. Maybe I know a lot more about him than I know about most people. But I would not say that I can understand the nature of this obsession. It’s fascinating, and powerful. And there is something about losing a parent when you are very, very young. Particularly if you’ve been lied to. All of Eric’s life — and maybe that’s the story of history — was trying to penetrate this grotesque cover-up.”\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/b01DL8DTUGM'\n title='//www.youtube.com/embed/b01DL8DTUGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Morris worked for three years as a private investigator during a fallow period in the ‘80s before he encountered the Death Row inmate who inspired \u003cem>The Thin Blue Line\u003c/em>. The documentary had a pivotal effect on the case, but generated more attention and controversy for its use of reenactments. (Morris used to call them “enactments” because they didn’t depict what actually happened but what people falsely stated they saw or thought they witnessed.)\u003c/p>\n\u003cp>“I’ve said this so many times I feel like a broken record,” a jet-lagged Morris says in a late-October conversation while \u003cem>Wormwood\u003c/em> screens nearby at the Vogue Theatre, “but I’ll say it again: Reality isn’t given to us on a tray like a Happy Meal. It is something that we search for, we investigate, we look here, we look there, we compare this fact with that fact, this piece of evidence with that piece of evidence. When I was accused by various people at the time of the release of \u003ci>The Thin Blue Line\u003c/i> that reenactments should not be part of documentary filmmaking, my retort was that it’s all a reenactment.”\u003c/p>\n\u003cp>Morris takes a breath, and his measured pace accelerates a bit.\u003c/p>\n\u003cp>“Consciousness is a reenactment of the world inside of our skulls. We don’t have any direct access to the world around us. We know it’s there, but we piece it together. Consciousness is a collage, a collage which is constantly being tested to see if we are living in some kind of dream or in the world.\u003c/p>\n\u003cp>“I know this movie addresses so many of my philosophical concerns in one way or another. The focus in \u003ci>Wormwood\u003c/i>, whatever genre it belongs to, is finding the truth. There is a truth to be uncovered in the world. Maybe it’s endlessly elusive, but it’s my job to go after it. And anything you bring to bear is fair game, if drama helps you understand it, if reenactment helps you understand it, if archival footage helps you understand it.”\u003c/p>\n\u003cp>The University of Chicago Press is publishing a collection of Morris’ essays in the spring, \u003cem>The Ashtray (or The Man Who Denied Reality)\u003c/em>, in which he expounds on and grapples with the notion and importance of truth. Presumably Morris states, as he does in numerous ways and from numerous angles in \u003cem>Wormwood\u003c/em>, that history may be a construct and memory subjective, but truth is a goal that should never be abandoned.\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\u003cp>\u003ci>‘Wormwood’ premieres Dec. 15, 2017 on Netflix. \u003ca href=\"https://www.netflix.com/title/80059446\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s an unforgettable scene in the Netflix documentary \u003cem>Joan Didion: The Center Will Not Hold\u003c/em>. Filmmaker Griffin Dunne asks Didion about the legendary moment when, while reporting a piece on the counter-culture in San Francisco’s Haight-Ashbury neighborhood, she came across a 5-year-old girl tripping on LSD.\u003c/p>\n\u003cp>“What was that like?” Dunne wonders. Didion pauses, and replies, “It was gold.” Which is to say that the little girl was great material.\u003c/p>\n\u003cp>What counts as material, and how you use it, lies at the heart of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, the delightfully zippy new Amazon series created by Amy Sherman-Palladino and her husband, Daniel Palladino — a team best known for \u003cem>Gilmore Girls\u003c/em> and \u003cem>Bunheads\u003c/em>. Set in a brightly colored version of late 1950s New York — the soundtrack is bursting with show tunes and Sinatra — it’s a backhanded riposte to the old canard that women can’t be funny.\u003c/p>\n\u003cp>When we first meet Miriam Maisel (Rachel Brosnahan) she’s in her bridal gown and addressing her wedding banquet. She turns her speech into a piece of impromptu stand-up, complete with jokes about the food not being kosher.\u003c/p>\n\u003cp>But while Miriam clearly has a mouth on her, she’s content to be the comfortably Upper West Side wife of Joel Maisel (Michael Zegen) who works in an office by day but, by night, goes down to the Village to try to make it as a comedian.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 26-year-old Miriam, known as “Midge,” is just what her parents, her husband and \u003cem>his\u003c/em> parents want: a chic, Bryn Mawr-educated, alpha Jewish \u003cem>hausfrau\u003c/em> who bribes club owners with brisket to get her husband better performing slots at the Gaslight Café, and who tells total strangers the best way to remove blood stains from a blouse. There’s just one problem: Joel proves to be less than she hoped for, as both a husband \u003cem>and\u003c/em> a comedian.\u003c/p>\n\u003cp>Midge soon finds herself in that most classic of Sherman-Palladino situations: She’s a single woman making it on her own. But how? She uses her clever tongue to become a comedian herself.\u003c/p>\n\u003cp>Before she quite knows what’s happened, Midge has crashed the Gaslight Café stage, been discovered by a butch manager named Susie (played by Alex Borstein), been tossed in jail for obscenity and begun an unlikely relationship with, of all people, comedian Lenny Bruce.\u003c/p>\n\u003cp>Although \u003cem>The Marvelous Mrs. Maisel\u003c/em> is set in the \u003cem>Mad Men\u003c/em> era, it’s sunnier and far more yakkety. In fact, there’s an aspect of the old Hollywood musical in the dreamy production design and the portraits of Midge and Joel’s parents (who are too broadly conceived, yet played by real pros — Marin Hinkle, Tony Shalhoub, Kevin Pollak and Caroline Aaron). They provide the setting for Brosnahan, whose fast-talking brilliance as Midge is a real knockout. Whether Midge is making reflexively neurotic jokes, being devastated by betrayal or slaying people at the club, Brosnahan makes us believe that here is a woman able to shed her conventional life and discover her truest self being funny behind a microphone.\u003c/p>\n\u003cp>This is a not an easy thing to pull off. The trouble with nearly all stories about comedians — from the ’80s Tom Hanks-Sally Field film \u003cem>Punchline\u003c/em> to the recent show \u003cem>I’m Dying Up Here\u003c/em> — is that when they get on stage, they aren’t funny enough and their humor isn’t as daring as everyone pretends it is.\u003c/p>\n\u003cp>In the monologues written by Sherman-Palladino, Midge does what great comedians are able to do: She transforms personal pain and confusion into a genuinely funny performance. And the series triumph lies in showing us how she turns her life into great and original material.\u003c/p>\n\u003cp>Of course, back then there were no real-life women doing the equivalent of Midge’s stand-up act, which pushes far beyond the self-mockery of Phyllis Diller or the wisecracks of the young Joan Rivers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this isn’t a complaint. \u003cem>The Marvelous Mrs. Maisel\u003c/em> isn’t aiming for realism. It’s a heroic fantasy. And Midge’s humor, one might say, is the ultimate version of staircase wit. Recklessly honest, she says what female comedians \u003cem>would’ve\u003c/em> said half a century ago — if they had only been free to say it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Zippy+And+Delightful%2C+%27The+Marvelous+Mrs.+Maisel%27+Spotlights+An+Unlikely+Comic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wJYSu2OVCGM\u003c/p>\n\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NvgzNEPhYQA\u003c/p>\n\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIy1rOb8EYU\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wJYSu2OVCGM'\n title='//www.youtube.com/embed/wJYSu2OVCGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\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/NvgzNEPhYQA'\n title='//www.youtube.com/embed/NvgzNEPhYQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zIy1rOb8EYU'\n title='//www.youtube.com/embed/zIy1rOb8EYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Della Reese, 'Touched By An Angel' Star and Singer, Dies at 86",
"headTitle": "Della Reese, ‘Touched By An Angel’ Star and Singer, Dies at 86 | KQED",
"content": "\u003cp>Della Reese, a performer and pastor best known for her starring role on the CBS spiritual drama \u003cem>Touched by an Angel\u003c/em>, has died at 86.\u003c/p>\n\u003cp>“Her signature television role came late in life,” NPR’s Eric Deggans reported. “Reese already had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.”\u003c/p>\n\u003cp>Her husband Franklin Lett \u003ca href=\"https://www.instagram.com/p/BbufhPnDUDz/\">released a statement\u003c/a> through her \u003cem>Touched by an Angel\u003c/em> costar Roma Downey, saying that Reese “has passed away peacefully at her California home surrounded by love.”\u003c/p>\n\u003cp>Downey added, “I know heaven has a brand new angel this day.”\u003c/p>\n\u003cp>Reese, who was born Delloreese Patricia Early in Detroit, started singing in church when she was six. She \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1525893\">told NPR in 2003\u003c/a> that she was recruited by gospel legend Mahalia Jackson to tour with her at the age of 12.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My mother took Mahalia aside and looked into her eyes and said, `I’ve got a good child here. I wouldn’t let her go off with everybody, but I trust you. I know you’re a woman of God and I’m expecting you to bring me back a better child than I’m sending away with you,'” Reese told the \u003cem>Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>From there, her songs climbed pop charts, such as “Don’t You Know,” which is adapted from an aria from the opera \u003cem>La Boheme\u003c/em>. As Eric reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Her dignified image led to mainstream stardom. She was on \u003cem>The Ed Sullivan Show\u003c/em> 18 times in one year. She also became the first black woman to host her own syndicated variety series and the first black woman to guest host Johnny Carson’s \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>“It was on the set of that show in 1979 that she suffered a brain aneurysm; a near-death experience that inspired her to become an ordained minister.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Her own show, \u003cem>Della\u003c/em>, was on air for one season in 1969-70 with nearly 200 episodes, \u003ca href=\"https://www.nytimes.com/2017/11/20/obituaries/della-reese-singer-and-touched-by-an-angel-star-dies-at-86.html\">The New York Times reported\u003c/a>, with guests including “George Burns, Ike and Tina Turner, Little Richard, Steve Allen, Tony Bennett, Ethel Waters and Gypsy Rose Lee.”\u003c/p>\n\u003cp>In \u003cem>Touched by an Angel\u003c/em>, Reese plays Tess, a sarcastic angel boss who is a maternal figure to Downey’s apprentice guardian angel. “No one played the down to earth, worldly mother figure like Della Reese,” Eric adds.\u003c/p>\n\u003cp>The show was a hit, and ran for nine years “telling stories of God’s impact in everyday life,” Eric says. “People need something to help them with their lives. In the show, we didn’t tell you what to do, we said, ‘did you ever think about it like this?'” Reese said, as Eric reports.\u003c/p>\n\u003cp>Reese also sang the show’s theme song, “Walk with You.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an ordained minister, Reese founded a church called the Understanding Principles for Better Living Church out of her living room. \u003ca href=\"http://upchurch.org/about-our-founder-rev-della-reese-lett/\">The church’s website recounts that\u003c/a> from an original eight members, the church soon outgrew her living room. As the \u003cem>Times\u003c/em> reported, “she delivered Sunday services there for many years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Della+Reese%2C+%27Touched+By+An+Angel%27+Star+And+Singer%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Della Reese, a performer and pastor best known for her starring role on the CBS spiritual drama \u003cem>Touched by an Angel\u003c/em>, has died at 86.\u003c/p>\n\u003cp>“Her signature television role came late in life,” NPR’s Eric Deggans reported. “Reese already had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.”\u003c/p>\n\u003cp>Her husband Franklin Lett \u003ca href=\"https://www.instagram.com/p/BbufhPnDUDz/\">released a statement\u003c/a> through her \u003cem>Touched by an Angel\u003c/em> costar Roma Downey, saying that Reese “has passed away peacefully at her California home surrounded by love.”\u003c/p>\n\u003cp>Downey added, “I know heaven has a brand new angel this day.”\u003c/p>\n\u003cp>Reese, who was born Delloreese Patricia Early in Detroit, started singing in church when she was six. She \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1525893\">told NPR in 2003\u003c/a> that she was recruited by gospel legend Mahalia Jackson to tour with her at the age of 12.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My mother took Mahalia aside and looked into her eyes and said, `I’ve got a good child here. I wouldn’t let her go off with everybody, but I trust you. I know you’re a woman of God and I’m expecting you to bring me back a better child than I’m sending away with you,'” Reese told the \u003cem>Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>From there, her songs climbed pop charts, such as “Don’t You Know,” which is adapted from an aria from the opera \u003cem>La Boheme\u003c/em>. As Eric reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Her dignified image led to mainstream stardom. She was on \u003cem>The Ed Sullivan Show\u003c/em> 18 times in one year. She also became the first black woman to host her own syndicated variety series and the first black woman to guest host Johnny Carson’s \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>“It was on the set of that show in 1979 that she suffered a brain aneurysm; a near-death experience that inspired her to become an ordained minister.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Her own show, \u003cem>Della\u003c/em>, was on air for one season in 1969-70 with nearly 200 episodes, \u003ca href=\"https://www.nytimes.com/2017/11/20/obituaries/della-reese-singer-and-touched-by-an-angel-star-dies-at-86.html\">The New York Times reported\u003c/a>, with guests including “George Burns, Ike and Tina Turner, Little Richard, Steve Allen, Tony Bennett, Ethel Waters and Gypsy Rose Lee.”\u003c/p>\n\u003cp>In \u003cem>Touched by an Angel\u003c/em>, Reese plays Tess, a sarcastic angel boss who is a maternal figure to Downey’s apprentice guardian angel. “No one played the down to earth, worldly mother figure like Della Reese,” Eric adds.\u003c/p>\n\u003cp>The show was a hit, and ran for nine years “telling stories of God’s impact in everyday life,” Eric says. “People need something to help them with their lives. In the show, we didn’t tell you what to do, we said, ‘did you ever think about it like this?'” Reese said, as Eric reports.\u003c/p>\n\u003cp>Reese also sang the show’s theme song, “Walk with You.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an ordained minister, Reese founded a church called the Understanding Principles for Better Living Church out of her living room. \u003ca href=\"http://upchurch.org/about-our-founder-rev-della-reese-lett/\">The church’s website recounts that\u003c/a> from an original eight members, the church soon outgrew her living room. As the \u003cem>Times\u003c/em> reported, “she delivered Sunday services there for many years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Della+Reese%2C+%27Touched+By+An+Angel%27+Star+And+Singer%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tambor May Leave 'Transparent' Amid Harassment Allegations",
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"content": "\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor has announced he may be leaving the hit Amazon series after two women accused him of sexual harassment.\u003c/p>\n\u003cp>Tambor continues to deny the allegations leveled this month by one of his co-stars on the show and by his former assistant. But the actor intimated his departure from the show, in a statement provided to NPR, due to a recent “politicized atmosphere” on the set.\u003c/p>\n\u003cblockquote>\n\u003cp>“Playing Maura Pfefferman on ‘Transparent’ has been one of the greatest privileges and creative experiences of my life,” Tambor said. “What has become clear over the past weeks, however, is that this is no longer the job I signed up for four years ago. I’ve already made clear my deep regret if any action of mine was ever misinterpreted by anyone as being aggressive, but the idea that I would deliberately harass anyone is simply and utterly untrue. Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://deadline.com/2017/11/jeffrey-tambor-sexual-harassment-claims-amazon-1202204220/\" target=\"_blank\" rel=\"noopener\">According to Deadline\u003c/a>, which first broke the news on Sunday, the first allegation against Tambor was made by his former assistant and transgender actress Van Barnes. In a private Facebook post earlier this month, Barnes claimed her former boss, without naming Tambor, had sexually harassed and groped her, prompting Amazon Studios officials to open an investigation into the matter.\u003c/p>\n\u003cp>Just more than a week later, his transgender co-star Trace Lysette \u003ca href=\"https://twitter.com/tracelysette/status/931366076209799168\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> that Tambor “made many sexual advances and comments at me, but one time it got physical.” She proceeds to describe an instance in which he pressed up against the actress and “began quick, discreet thrusts back and forth” against her, in between filming.\u003c/p>\n\u003cp>In response to the allegations, Tambor admitted he “can be volatile and ill-tempered … But I have never been a predator – ever.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When news dropped of the network’s investigation, \u003ca href=\"http://deadline.com/2017/11/house-of-cards-transparent-wisdom-of-the-crowd-harassment-scandals-future-limbo-1202205041/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that \u003cem>Transparent \u003c/em>writers considered writing Tambor’s central character Maura out of the upcoming fifth season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Tambor has yet to officially quit the show. A source close to the show says no final decision about next season has been made by Tambor or Amazon. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeffrey+Tambor+May+Be+Leaving+%27Transparent%27+Amid+Sexual+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor has announced he may be leaving the hit Amazon series after two women accused him of sexual harassment.\u003c/p>\n\u003cp>Tambor continues to deny the allegations leveled this month by one of his co-stars on the show and by his former assistant. But the actor intimated his departure from the show, in a statement provided to NPR, due to a recent “politicized atmosphere” on the set.\u003c/p>\n\u003cblockquote>\n\u003cp>“Playing Maura Pfefferman on ‘Transparent’ has been one of the greatest privileges and creative experiences of my life,” Tambor said. “What has become clear over the past weeks, however, is that this is no longer the job I signed up for four years ago. I’ve already made clear my deep regret if any action of mine was ever misinterpreted by anyone as being aggressive, but the idea that I would deliberately harass anyone is simply and utterly untrue. Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://deadline.com/2017/11/jeffrey-tambor-sexual-harassment-claims-amazon-1202204220/\" target=\"_blank\" rel=\"noopener\">According to Deadline\u003c/a>, which first broke the news on Sunday, the first allegation against Tambor was made by his former assistant and transgender actress Van Barnes. In a private Facebook post earlier this month, Barnes claimed her former boss, without naming Tambor, had sexually harassed and groped her, prompting Amazon Studios officials to open an investigation into the matter.\u003c/p>\n\u003cp>Just more than a week later, his transgender co-star Trace Lysette \u003ca href=\"https://twitter.com/tracelysette/status/931366076209799168\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> that Tambor “made many sexual advances and comments at me, but one time it got physical.” She proceeds to describe an instance in which he pressed up against the actress and “began quick, discreet thrusts back and forth” against her, in between filming.\u003c/p>\n\u003cp>In response to the allegations, Tambor admitted he “can be volatile and ill-tempered … But I have never been a predator – ever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When news dropped of the network’s investigation, \u003ca href=\"http://deadline.com/2017/11/house-of-cards-transparent-wisdom-of-the-crowd-harassment-scandals-future-limbo-1202205041/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that \u003cem>Transparent \u003c/em>writers considered writing Tambor’s central character Maura out of the upcoming fifth season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Tambor has yet to officially quit the show. A source close to the show says no final decision about next season has been made by Tambor or Amazon. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeffrey+Tambor+May+Be+Leaving+%27Transparent%27+Amid+Sexual+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Sarah Silverman confronted one aspect of the wave of sexual abuse and misconduct revelations that have come out in recent weeks: the anguish when the perpetrator is a friend.\u003c/p>\n\u003cp>“I wish I could sit this one out,” she says in a monologue for her Hulu show \u003cem>I Love You, America\u003c/em>. “But then I remembered something I said on this very show: that if it’s mentionable, it’s manageable. So I’m going to address the elephant masturbating in the room.”\u003c/p>\n\u003cp>She means, of course, the comedian Louis C.K., one of Silverman’s best friends for more than 25 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_WKFDqxiL80\u003c/p>\n\u003cp>“This recent calling out of sexual assault has been a long time coming,” she says in the episode that aired Thursday night. “It’s good. It’s like cutting out tumors — it’s messy and it’s complicated and it is gonna hurt, but it’s necessary and we’ll all be healthier for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It sucks, and some of our heroes will be taken down and we will discover bad things about people we like, or in some cases, people we love.”\u003c/p>\n\u003cp>Multiple female comics have accused C.K. of sexual misconduct, including masturbating in front of them. Last week, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\">C.K. admitted\u003c/a> that “the stories are true” after previously declining to comment on the rumors about him. One of the women \u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\">told\u003c/a> \u003cem>The New York Times\u003c/em> that for years afterward, she felt angry and betrayed and that the interaction was a factor in her deciding not pursue comedy.\u003c/p>\n\u003cp>“He wielded his power with women in messed-up ways,” Silverman continues. “I could couch this with heartwarming stories of our friendship and what a great dad he is, but that’s totally irrelevant, isn’t it? Yes, it is.”\u003c/p>\n\u003cp>After the \u003cem>Times \u003c/em>story broke, HBO cut ties with C.K., the distributor of his upcoming film canceled its release, and FX canceled its deal with his production company.\u003c/p>\n\u003cp>“I love Louie. But Louie did these things,” Silverman says. “Both of those statements are true. So, I just keep asking myself, can you love someone who did bad things? Can you still love them? I can mull that over later, certainly, because the only people that matter right now are the victims. They are victims, and they’re victims because of something he did.”\u003c/p>\n\u003cp>Silverman says she is at once very angry — “for the women he wronged and the culture that enabled it” — and also sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe with all my heart that this moment in time is essential,” she says. “It’s vital that people are held accountable for their actions, no matter who they are. We need to be better. We will better. I can’t [expletive] wait to be better.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Silverman+Asks%3A+%27Can+You+Love+Someone+Who+Did+Bad+Things%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Sarah Silverman confronted one aspect of the wave of sexual abuse and misconduct revelations that have come out in recent weeks: the anguish when the perpetrator is a friend.\u003c/p>\n\u003cp>“I wish I could sit this one out,” she says in a monologue for her Hulu show \u003cem>I Love You, America\u003c/em>. “But then I remembered something I said on this very show: that if it’s mentionable, it’s manageable. So I’m going to address the elephant masturbating in the room.”\u003c/p>\n\u003cp>She means, of course, the comedian Louis C.K., one of Silverman’s best friends for more than 25 years.\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/_WKFDqxiL80'\n title='//www.youtube.com/embed/_WKFDqxiL80'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This recent calling out of sexual assault has been a long time coming,” she says in the episode that aired Thursday night. “It’s good. It’s like cutting out tumors — it’s messy and it’s complicated and it is gonna hurt, but it’s necessary and we’ll all be healthier for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It sucks, and some of our heroes will be taken down and we will discover bad things about people we like, or in some cases, people we love.”\u003c/p>\n\u003cp>Multiple female comics have accused C.K. of sexual misconduct, including masturbating in front of them. Last week, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\">C.K. admitted\u003c/a> that “the stories are true” after previously declining to comment on the rumors about him. One of the women \u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\">told\u003c/a> \u003cem>The New York Times\u003c/em> that for years afterward, she felt angry and betrayed and that the interaction was a factor in her deciding not pursue comedy.\u003c/p>\n\u003cp>“He wielded his power with women in messed-up ways,” Silverman continues. “I could couch this with heartwarming stories of our friendship and what a great dad he is, but that’s totally irrelevant, isn’t it? Yes, it is.”\u003c/p>\n\u003cp>After the \u003cem>Times \u003c/em>story broke, HBO cut ties with C.K., the distributor of his upcoming film canceled its release, and FX canceled its deal with his production company.\u003c/p>\n\u003cp>“I love Louie. But Louie did these things,” Silverman says. “Both of those statements are true. So, I just keep asking myself, can you love someone who did bad things? Can you still love them? I can mull that over later, certainly, because the only people that matter right now are the victims. They are victims, and they’re victims because of something he did.”\u003c/p>\n\u003cp>Silverman says she is at once very angry — “for the women he wronged and the culture that enabled it” — and also sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe with all my heart that this moment in time is essential,” she says. “It’s vital that people are held accountable for their actions, no matter who they are. We need to be better. We will better. I can’t [expletive] wait to be better.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Silverman+Asks%3A+%27Can+You+Love+Someone+Who+Did+Bad+Things%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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