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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He came in close, put his bare feet on top of mine so I could not move, leaned his body against me, and began quick, discreet thrust back and forth against my body,” Lysette said. “I felt his penis on my hip through his thin pajamas.”\u003c/p>\n\u003cp>Tambor has been hailed for his portrayal of Maura Pfefferman, the transgendered matriarch of the quirky Pfefferman family. He has won a best actor Emmy for his portrayal, and has also starred in such shows as \u003cem>The Larry Sanders Show \u003c/em> and \u003cem>Arrested Development\u003c/em>.\u003c/p>\n\u003cp>Lysette urged Amazon to “remove the problem and let the show go on.” The gay rights group GLAAD echoed her request, calling for the show to be refocused, presumably away from Tambor.\u003c/p>\n\u003cp>“For too long transgender women have been forced to hide stories of harassment and abuse in the work place, and Trace has taken a powerful stand in calling for an industry where all women can work in safe environments,” GLADD said.\u003c/p>\n\u003cp>“GLAAD stands with Trace in her hope that the inappropriate situations she and others endured on set will be remedied, and that future seasons will focus on more of the many brilliant characters that audiences love and care about.”\u003c/p>\n\u003cp>Several voices in the transgender community have also urged Amazon to continue the series without Tambor. “We cannot let trans content be taken down” by Tambor, wrote Our Lady J, a writer and producer of \u003cem>Transparent\u003c/em>. Actor and activist Omar Sharif Jr. also took to Twitter to say “it’s critical” that \u003cem>Transparent\u003c/em> continue “(without Tambor) as trans stories are needed more than ever!”\u003c/p>\n\u003cp>Amazon Studios said it is adding the information to an investigation of Tambor it opened last week when his assistant made similar allegations, which Tambor also denied, calling her “disgruntled.”\u003c/p>\n\u003cp>Tambor said in a statement that he can be difficult to work with, but denied any sexual misbehavior.\u003c/p>\n\u003cp>“I am deeply sorry if any action of mine was ever misinterpreted by anyone as being sexually aggressive or if I ever offended or hurt anyone,” he said. “But the fact is, for all my flaws, I am not a predator and the idea that someone might see me in that way is more distressing than I can express. ”\u003c/p>\n\u003cp>Tambor is the latest high profile Hollywood figure to be accused of misconduct in a wave that began when dozens of sexual harassment allegations were reported last month against film mogul Harvey Weinstein, who is being investigated for rape by police departments in London, New York and Los Angeles. An unnamed aspiring actress has filed a proposed class action lawsuit against Weinstein and his former company in an attempt to hold them financially responsible for the producer’s alleged actions.\u003c/p>\n\u003cp>Also Friday, Los Angeles talent agent Cameron Mitchell said allegations that he sexually assaulted actress Demi Mann are false and egregious.\u003c/p>\n\u003cp>Mann filed a lawsuit Thursday alleging that she had been sexually harassed and that Mitchell had forced her to perform oral sex on him twice. She also said she went to a bar with him and then only remembered waking up in her bed with him lying nude next to her.\u003c/p>\n\u003cp>CAA said it launched an immediate investigation and suspended Mitchell last month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also Friday, Vice Media said it has appointed a seven-woman advisory board to examine workplace issues at the media company following a report in The Daily Beast that Vice tolerated inappropriate behavior and harassment toward women.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Guillaume, who rose from squalid beginnings in St. Louis slums to become a star in stage musicals and win Emmy Awards for his portrayal of the sharp-tongued butler in the TV sitcoms \u003cem>Soap\u003c/em> and \u003cem>Benson\u003c/em>, has died at age 89.\u003c/p>\n\u003cp>Guillaume died at home Tuesday in Los Angeles, according to his widow, Donna Brown Guillaume. He had been battling prostate cancer, she told The Associated Press.\u003c/p>\n\u003cp>Among Guillaume’s achievements was playing Nathan Detroit in the first all-black version of \u003cem>Guys and Dolls\u003c/em>, earning him a Tony nomination in 1977. He became the first African-American to sing the title role of \u003cem>Phantom of the Opera\u003c/em>, in a Los Angeles-based production, and was the voice of the shaman-slash-mandrill Rafiki in the film version of \u003ci>The Lion King\u003c/i>.\u003c/p>\n\u003cp>Guillaume won a Grammy in 1995 when a read-aloud version of \u003cem>The Lion King\u003c/em>, which he narrated, was cited for best spoken word album for children. 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In the series, the main character went from running the kitchen for a governor to becoming a political aide to eventually becoming lieutenant governor. \u003cem>Benson\u003c/em> made Guillaume wealthy and famous, but he regretted that his character’s wit had to be toned down to make him more appealing as the lead star.\u003c/p>\n\u003cp>The career of Robert Guillaume (pronounced with a hard “g”: gee-yome) almost ended in January 1999 at Walt Disney Studio. He was appearing in the Aaron Sorkin-written TV series \u003cem>Sports Night\u003c/em> as Isaac Jaffee, executive producer of a sports highlight show. Returning to his dressing room after a meal away from the studio, he suddenly collapsed.\u003c/p>\n\u003cp>“I fell on the floor, and I couldn’t get up,” he told an interviewer in 2001. “I kept floundering about on the floor and I didn’t know why I couldn’t do it. I didn’t know it was it was caused by my left side being weaker than the other.”\u003c/p>\n\u003cp>Fortunately, St. Joseph Hospital was directly across from the studio. The 71-year-old actor was taken there and treated for a stroke— the result of a blood clot that blocked circulation of blood to the brain. They are fatal in 15 percent of the cases.\u003c/p>\n\u003cp>Guillaume’s stroke was minor, causing relatively slight damage and little effect on his speech. After six weeks in the hospital, he underwent a therapy of walks and sessions in the gym. He returned to the second season of \u003cem>Sports Night\u003c/em>, and it was written into the script that Isaac Jaffee was recovering from a stroke. Because of slim ratings, the second season proved to be the last for the much-praised show.\u003c/p>\n\u003cp>Guillaume resumed his career and traveled as a new spokesman for the American Stroke Association. He also made appearance for the American Heart Association.\u003c/p>\n\u003cp>“I’m a bastard, a Catholic, the son of a prostitute, and a product of the poorest slums of St. Louis.”\u003c/p>\n\u003cp>This was the opening of \u003cem>Guillaume: A Life\u003c/em>, his 2002 autobiography in which he laid bare his troubled life. He was born fatherless on Nov. 30, 1927, in St. Louis, one of four children. His mother named him Robert Peter Williams; when he became a performer he adopted Guillaume, a French version of William, believing the change would give him distinction.\u003c/p>\n\u003cp>His early years were spent in a back-alley apartment without plumbing or electricity; an outhouse was shared with two dozen people. His alcoholic mother hated him because of his dark skin, and his grandmother rescued him, taught him to read and enrolled him in a Catholic school.\u003c/p>\n\u003cp>Seeking but denied his mother’s love and scorned by nuns and students because of his dark skin, the boy became a rebel, and that carried into his adult life. He was expelled from school and then the Army, though he was granted an honorable discharge. He fathered a daughter and abandoned the child and her mother. He did the same to his first wife and two sons and to another woman and a daughter.\u003c/p>\n\u003cp>He worked in a department store, the post office and as St. Louis’s first black streetcar motorman. Seeking something better, he enrolled at St. Louis University, excelling in philosophy and Shakespeare, and then at Washington University (St. Louis) where a music professor trained the young man’s superb tenor singing voice.\u003c/p>\n\u003cp>After serving as an apprentice at theaters in Aspen, Colorado, and Cleveland, the newly named Guillaume toured with Broadway shows \u003cem>Finian’s Rainbow\u003c/em>, \u003cem>Golden Boy\u003c/em>, \u003cem>Porgy and Bess\u003c/em> and \u003cem>Purlie\u003c/em>, and began appearing on sitcoms such as \u003cem>The Jeffersons\u003c/em> and \u003cem>Sanford and Son\u003c/em>. Then came \u003cem>Soap\u003c/em> and \u003cem>Benson\u003c/em>. His period of greatest success was marred by tragedy when his 33-year-old son Jacques died of complications from AIDS in 1990.\u003c/p>\n\u003cp>Guillaume’s first stable relationship came when he married TV producer Donna Brown in the mid-1980s and had a daughter, Rachel. At last he was able to shrug off the bitterness he had felt throughout his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To assuage bitterness requires more than human effort,” he wrote at the end of his autobiography. “Relief comes from a source we cannot see but can only feel. I am content to call that source love.”\u003cbr>\n___\u003cbr>\nAP television writer Lynn Elber in Los Angeles and the late AP Entertainment Writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Guillaume, who rose from squalid beginnings in St. Louis slums to become a star in stage musicals and win Emmy Awards for his portrayal of the sharp-tongued butler in the TV sitcoms \u003cem>Soap\u003c/em> and \u003cem>Benson\u003c/em>, has died at age 89.\u003c/p>\n\u003cp>Guillaume died at home Tuesday in Los Angeles, according to his widow, Donna Brown Guillaume. He had been battling prostate cancer, she told The Associated Press.\u003c/p>\n\u003cp>Among Guillaume’s achievements was playing Nathan Detroit in the first all-black version of \u003cem>Guys and Dolls\u003c/em>, earning him a Tony nomination in 1977. He became the first African-American to sing the title role of \u003cem>Phantom of the Opera\u003c/em>, in a Los Angeles-based production, and was the voice of the shaman-slash-mandrill Rafiki in the film version of \u003ci>The Lion King\u003c/i>.\u003c/p>\n\u003cp>Guillaume won a Grammy in 1995 when a read-aloud version of \u003cem>The Lion King\u003c/em>, which he narrated, was cited for best spoken word album for children. He also served as narrator for the animated HBO series \u003cem>Happily Ever After: Fairy Tales for Every Child\u003c/em>, which aired form 1995-2000.\u003c/p>\n\u003cp>While playing in “Guys and Dolls, he was asked to test for the role of an acerbic butler of a governor’s mansion in \u003cem>Soap\u003c/em>, a prime-time TV sitcom that satirized soap operas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The minute I saw the script, I knew I had a live one,” he recalled in 2001. “Every role was written against type, especially Benson, who wasn’t subservient to anyone. To me, Benson was the revenge for all those stereotyped guys who looked like Benson in the ’40s and ’50s (movies) and had to keep their mouths shut.”\u003c/p>\n\u003cp>The character became so popular that ABC was persuaded to launch a spinoff, simply called \u003cem>Benson\u003c/em>, which lasted from 1979 to 1986. In the series, the main character went from running the kitchen for a governor to becoming a political aide to eventually becoming lieutenant governor. \u003cem>Benson\u003c/em> made Guillaume wealthy and famous, but he regretted that his character’s wit had to be toned down to make him more appealing as the lead star.\u003c/p>\n\u003cp>The career of Robert Guillaume (pronounced with a hard “g”: gee-yome) almost ended in January 1999 at Walt Disney Studio. He was appearing in the Aaron Sorkin-written TV series \u003cem>Sports Night\u003c/em> as Isaac Jaffee, executive producer of a sports highlight show. Returning to his dressing room after a meal away from the studio, he suddenly collapsed.\u003c/p>\n\u003cp>“I fell on the floor, and I couldn’t get up,” he told an interviewer in 2001. “I kept floundering about on the floor and I didn’t know why I couldn’t do it. I didn’t know it was it was caused by my left side being weaker than the other.”\u003c/p>\n\u003cp>Fortunately, St. Joseph Hospital was directly across from the studio. The 71-year-old actor was taken there and treated for a stroke— the result of a blood clot that blocked circulation of blood to the brain. They are fatal in 15 percent of the cases.\u003c/p>\n\u003cp>Guillaume’s stroke was minor, causing relatively slight damage and little effect on his speech. After six weeks in the hospital, he underwent a therapy of walks and sessions in the gym. He returned to the second season of \u003cem>Sports Night\u003c/em>, and it was written into the script that Isaac Jaffee was recovering from a stroke. Because of slim ratings, the second season proved to be the last for the much-praised show.\u003c/p>\n\u003cp>Guillaume resumed his career and traveled as a new spokesman for the American Stroke Association. He also made appearance for the American Heart Association.\u003c/p>\n\u003cp>“I’m a bastard, a Catholic, the son of a prostitute, and a product of the poorest slums of St. Louis.”\u003c/p>\n\u003cp>This was the opening of \u003cem>Guillaume: A Life\u003c/em>, his 2002 autobiography in which he laid bare his troubled life. He was born fatherless on Nov. 30, 1927, in St. Louis, one of four children. His mother named him Robert Peter Williams; when he became a performer he adopted Guillaume, a French version of William, believing the change would give him distinction.\u003c/p>\n\u003cp>His early years were spent in a back-alley apartment without plumbing or electricity; an outhouse was shared with two dozen people. His alcoholic mother hated him because of his dark skin, and his grandmother rescued him, taught him to read and enrolled him in a Catholic school.\u003c/p>\n\u003cp>Seeking but denied his mother’s love and scorned by nuns and students because of his dark skin, the boy became a rebel, and that carried into his adult life. He was expelled from school and then the Army, though he was granted an honorable discharge. He fathered a daughter and abandoned the child and her mother. He did the same to his first wife and two sons and to another woman and a daughter.\u003c/p>\n\u003cp>He worked in a department store, the post office and as St. Louis’s first black streetcar motorman. Seeking something better, he enrolled at St. Louis University, excelling in philosophy and Shakespeare, and then at Washington University (St. Louis) where a music professor trained the young man’s superb tenor singing voice.\u003c/p>\n\u003cp>After serving as an apprentice at theaters in Aspen, Colorado, and Cleveland, the newly named Guillaume toured with Broadway shows \u003cem>Finian’s Rainbow\u003c/em>, \u003cem>Golden Boy\u003c/em>, \u003cem>Porgy and Bess\u003c/em> and \u003cem>Purlie\u003c/em>, and began appearing on sitcoms such as \u003cem>The Jeffersons\u003c/em> and \u003cem>Sanford and Son\u003c/em>. Then came \u003cem>Soap\u003c/em> and \u003cem>Benson\u003c/em>. His period of greatest success was marred by tragedy when his 33-year-old son Jacques died of complications from AIDS in 1990.\u003c/p>\n\u003cp>Guillaume’s first stable relationship came when he married TV producer Donna Brown in the mid-1980s and had a daughter, Rachel. At last he was able to shrug off the bitterness he had felt throughout his life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To assuage bitterness requires more than human effort,” he wrote at the end of his autobiography. “Relief comes from a source we cannot see but can only feel. I am content to call that source love.”\u003cbr>\n___\u003cbr>\nAP television writer Lynn Elber in Los Angeles and the late AP Entertainment Writer Bob Thomas contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“\u003ca href=\"https://www.nbc.com/the-good-place?nbc=1\" target=\"_blank\" rel=\"noopener\">The Good Place\u003c/a>,” an NBC comedy just beginning its second season, starts with a quirky premise.\u003c/p>\n\u003cp>Due to some celestial error, selfish and unpleasant Eleanor Shellstrop (Kristen Bell) has made it into heaven: the good place. She immediately recognizes the mistake, but she intends to earn her spot (or in any case, to “pass”) before any higher-ups are the wiser. Conveniently enough, her heavenly soul mate (played by William Jackson Harper) was a philosophy professor in his earthly life. He specialized in ethics — and he agrees to teach her how to be good.\u003c/p>\n\u003cp>It’s not everyday that philosophy makes it to a major television network. The show flirts with Kant and utilitarianism; Sartre makes an unannounced appearance. Where other shows consult lawyers or doctors or experts in forensics, “The Good Place” has \u003ca href=\"https://blog.apaonline.org/2017/06/21/philosophy-on-tv-the-good-place/\" target=\"_blank\" rel=\"noopener\">a philosophical advisor\u003c/a>.\u003c/p>\n\u003cp>So I was eager to watch the show for its engagement with philosophy in a popular medium. But, instead, I found myself gripped by the psychology — what initially struck me as very bad psychology.\u003c/p>\n\u003cp>You see, the idea behind Eleanor Shellstrop’s private tutoring in ethics is that learning about ethical theories is enough to become a good person, or at least to learn to behave like one. But human behavior isn’t so simple: There’s a big gap between knowing what’s right in the abstract and doing the right thing when it requires a very concrete sacrifice in the moment. (Knowing about nutrition, for example, is no guarantee that you’ll choose the kale salad over the pizza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, studies by University of California-Riverside philosopher \u003ca href=\"http://www.faculty.ucr.edu/~eschwitz/\" target=\"_blank\" rel=\"noopener\">Eric Schwitzgebel\u003c/a> and his colleagues reveal that philosophers who specialize in ethics and moral philosophy are no more likely to be good than other kinds of philosophers or academics. Their studies examine a variety of good and bad behaviors, from voting in public elections, calling one’s mother, and charitable donations to littering, attending conferences without paying registration fees, and joining the Nazi party in 1930s Germany.\u003c/p>\n\u003cp>In an \u003ca href=\"https://aeon.co/essays/how-often-do-ethics-professors-call-their-mothers\" target=\"_blank\" rel=\"noopener\">article\u003c/a> discussing his research, Schwitzgebel summarizes the findings like this: “Never once have we found ethicists as a whole behaving better than our comparison groups of other professors, by any of our main planned measures.”\u003c/p>\n\u003cp>So there’s not much reason to think that the ethics professor in “The Good Place” is unusually good just because he studied ethics, nor that teaching Eleanor ethics will teach her how to be good. That’s what had me raising an eyebrow as season one of “The Good Place” began. But long before the season’s \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/09/the-good-place-review-season-2/540336/\" target=\"_blank\" rel=\"noopener\">surprising finale\u003c/a>, I realized that the show’s creators were more subtle than their stated premise might suggest. Eleanor \u003cem>was\u003c/em> learning to become a better person, but it wasn’t because the ethics instruction was doing the trick. Instead, her behavior changed as she developed new relationships and became part of a community with different norms.\u003c/p>\n\u003cp>And that’s actually pretty good psychology.\u003c/p>\n\u003cp>A lot of \u003ca href=\"http://dx.doi.org/10.1111/sipr.12022\" target=\"_blank\" rel=\"noopener\">evidence\u003c/a> suggests that \u003ca href=\"https://www.newyorker.com/science/maria-konnikova/how-norms-change\">norms are crucial to behavior\u003c/a>. As one classic example, \u003ca href=\"http://dx.doi.org/10.1037/0022-3514.58.6.1015\" target=\"_blank\" rel=\"noopener\">people will litter more in an environment that is already littered\u003c/a> and that, thereby, conveys that littering is the norm. Elizabeth Levy Paluck, recent \u003ca href=\"https://www.princeton.edu/news/2017/10/11/social-psychologist-paluck-awarded-macarthur-fellowship\" target=\"_blank\" rel=\"noopener\">winner of a MacArthur “genius” award\u003c/a> and professor of psychology and public affairs at Princeton University, has shown in a variety of contexts how changing the perception of some norm can affect people’s behavior. For instance, one large-scale \u003ca href=\"http://dx.doi.org/10.7910/DVN/29199\" target=\"_blank\" rel=\"noopener\">study\u003c/a> across 56 schools found that student conflict could be reduced by having students with key roles in their social networks model and endorse a public stance against conflict, thereby shifting perceived norms.\u003c/p>\n\u003cp>So by the end of season one my raised eyebrow came down to meet its mate, and I silently applauded the show’s creators and writers. For a light and amusing sitcom, “The Good Place” does a pretty good job with philosophy, and a pretty good job with human psychology, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tania Lombrozo is a psychology professor at the University of California, Berkeley. She writes about psychology, cognitive science and philosophy, with occasional forays into parenting and veganism. You can keep up with more of what she is thinking on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/tanialombrozo\" target=\"_blank\" rel=\"noopener\">@TaniaLombrozo\u003c/a> \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=The+Good+Psychology+In+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“\u003ca href=\"https://www.nbc.com/the-good-place?nbc=1\" target=\"_blank\" rel=\"noopener\">The Good Place\u003c/a>,” an NBC comedy just beginning its second season, starts with a quirky premise.\u003c/p>\n\u003cp>Due to some celestial error, selfish and unpleasant Eleanor Shellstrop (Kristen Bell) has made it into heaven: the good place. She immediately recognizes the mistake, but she intends to earn her spot (or in any case, to “pass”) before any higher-ups are the wiser. Conveniently enough, her heavenly soul mate (played by William Jackson Harper) was a philosophy professor in his earthly life. He specialized in ethics — and he agrees to teach her how to be good.\u003c/p>\n\u003cp>It’s not everyday that philosophy makes it to a major television network. The show flirts with Kant and utilitarianism; Sartre makes an unannounced appearance. Where other shows consult lawyers or doctors or experts in forensics, “The Good Place” has \u003ca href=\"https://blog.apaonline.org/2017/06/21/philosophy-on-tv-the-good-place/\" target=\"_blank\" rel=\"noopener\">a philosophical advisor\u003c/a>.\u003c/p>\n\u003cp>So I was eager to watch the show for its engagement with philosophy in a popular medium. But, instead, I found myself gripped by the psychology — what initially struck me as very bad psychology.\u003c/p>\n\u003cp>You see, the idea behind Eleanor Shellstrop’s private tutoring in ethics is that learning about ethical theories is enough to become a good person, or at least to learn to behave like one. But human behavior isn’t so simple: There’s a big gap between knowing what’s right in the abstract and doing the right thing when it requires a very concrete sacrifice in the moment. (Knowing about nutrition, for example, is no guarantee that you’ll choose the kale salad over the pizza.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, studies by University of California-Riverside philosopher \u003ca href=\"http://www.faculty.ucr.edu/~eschwitz/\" target=\"_blank\" rel=\"noopener\">Eric Schwitzgebel\u003c/a> and his colleagues reveal that philosophers who specialize in ethics and moral philosophy are no more likely to be good than other kinds of philosophers or academics. Their studies examine a variety of good and bad behaviors, from voting in public elections, calling one’s mother, and charitable donations to littering, attending conferences without paying registration fees, and joining the Nazi party in 1930s Germany.\u003c/p>\n\u003cp>In an \u003ca href=\"https://aeon.co/essays/how-often-do-ethics-professors-call-their-mothers\" target=\"_blank\" rel=\"noopener\">article\u003c/a> discussing his research, Schwitzgebel summarizes the findings like this: “Never once have we found ethicists as a whole behaving better than our comparison groups of other professors, by any of our main planned measures.”\u003c/p>\n\u003cp>So there’s not much reason to think that the ethics professor in “The Good Place” is unusually good just because he studied ethics, nor that teaching Eleanor ethics will teach her how to be good. That’s what had me raising an eyebrow as season one of “The Good Place” began. But long before the season’s \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/09/the-good-place-review-season-2/540336/\" target=\"_blank\" rel=\"noopener\">surprising finale\u003c/a>, I realized that the show’s creators were more subtle than their stated premise might suggest. Eleanor \u003cem>was\u003c/em> learning to become a better person, but it wasn’t because the ethics instruction was doing the trick. Instead, her behavior changed as she developed new relationships and became part of a community with different norms.\u003c/p>\n\u003cp>And that’s actually pretty good psychology.\u003c/p>\n\u003cp>A lot of \u003ca href=\"http://dx.doi.org/10.1111/sipr.12022\" target=\"_blank\" rel=\"noopener\">evidence\u003c/a> suggests that \u003ca href=\"https://www.newyorker.com/science/maria-konnikova/how-norms-change\">norms are crucial to behavior\u003c/a>. As one classic example, \u003ca href=\"http://dx.doi.org/10.1037/0022-3514.58.6.1015\" target=\"_blank\" rel=\"noopener\">people will litter more in an environment that is already littered\u003c/a> and that, thereby, conveys that littering is the norm. Elizabeth Levy Paluck, recent \u003ca href=\"https://www.princeton.edu/news/2017/10/11/social-psychologist-paluck-awarded-macarthur-fellowship\" target=\"_blank\" rel=\"noopener\">winner of a MacArthur “genius” award\u003c/a> and professor of psychology and public affairs at Princeton University, has shown in a variety of contexts how changing the perception of some norm can affect people’s behavior. For instance, one large-scale \u003ca href=\"http://dx.doi.org/10.7910/DVN/29199\" target=\"_blank\" rel=\"noopener\">study\u003c/a> across 56 schools found that student conflict could be reduced by having students with key roles in their social networks model and endorse a public stance against conflict, thereby shifting perceived norms.\u003c/p>\n\u003cp>So by the end of season one my raised eyebrow came down to meet its mate, and I silently applauded the show’s creators and writers. For a light and amusing sitcom, “The Good Place” does a pretty good job with philosophy, and a pretty good job with human psychology, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tania Lombrozo is a psychology professor at the University of California, Berkeley. She writes about psychology, cognitive science and philosophy, with occasional forays into parenting and veganism. You can keep up with more of what she is thinking on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/tanialombrozo\" target=\"_blank\" rel=\"noopener\">@TaniaLombrozo\u003c/a> \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=The+Good+Psychology+In+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon Studios confirms that it has accepted the resignation of top executive Roy Price after he was suspended following \u003ca href=\"https://ww2.kqed.org/arts/2017/10/13/top-exec-at-amazon-studios-put-on-leave-after-harassment-allegations/\" target=\"_blank\" rel=\"noopener\">allegations of sexual harassment.\u003c/a>\u003c/p>\n\u003cp>In a story that appeared last week in \u003cem>The Hollywood Reporter\u003c/em>, Isa Hackett, a producer on the Amazon series \u003cem>The Man in the High Castle\u003c/em>, said she was “repeatedly and insistently propositioned” by Price in 2015 at a Comic-Con in San Diego, where Hackett was promoting the show.\u003c/p>\n\u003cp>Hackett called the incident “shocking and surreal” and said she was inspired to tell her story by women who came forward to publicly detail allegations of sexual harassment against film and TV mogul Harvey Weinstein.\u003c/p>\n\u003cp>The firing of Price comes less than two weeks after the Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">fired him\u003c/a> following accusations of sexual misconduct and assault by dozens of women, including actors Angelina Jolie and Gwyneth Paltrow.\u003c/p>\n\u003cp>Price was the top entertainment executive at Amazon Studios, which has developed movies such as the Oscar-winning film \u003cem>Manchester\u003c/em> \u003cem>by the Sea\u003c/em> and original TV shows for its Amazon Prime streaming service, such as \u003cem>Transparent.\u003c/em> \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=Amazon+Studios+Exec+Roy+Price+Resigns+Following+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”3mOZu7REu8Hnb2yRwpwnP9Q6YkX60Hmi”]\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Did you hear that the Beaver got killed in Vietnam?” \u003c/p>\n\u003cp>I was visiting Amherst College in Massachusetts in the late ’60s, attending some sort of anti-war gathering, and this older student took me aside to give me the bad news. In those days I didn’t like talking about my past as a child actor, including my years on TV playing Beaver’s best friend, Gilbert, on \u003cem>Leave it to Beaver\u003c/em>. It seemed too superficial and irrelevant and just plain embarrassing when the country was at war, and cities and campuses were on fire. \u003c/p>\n\u003cp>But this guy knew my secret and he wanted to tell me the awful truth. \u003c/p>\n\u003cp>His words stopped me cold. I didn’t believe him, or at least I didn’t want to. Even though I was living in Connecticut while I was going to Wesleyan University, far from my family and friends in Los Angeles, surely I would have heard if my TV buddy had died. Then again, there had been so many deaths, assassinations and shocking events in the 1960s that maybe this was just one more surreal, tragic loss. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13810077\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was in the papers,” he said, “people are talking about it on the radio.”\u003c/p>\n\u003cp>“Maybe,” he added, “this will wake people up. Nobody’s safe anymore, even Beaver Cleaver.”\u003c/p>\n\u003cp>He was right. The death of a TV icon in Vietnam would probably strike home with many Americans, especially those in suburbia and the heartland. Just the people we needed to reach. Maybe more would turn against the war.\u003c/p>\n\u003cp>But it was hard to think that way at the moment. \u003c/p>\n\u003cp>I felt sick. I was stung by guilt. Jerry and I had become friends in the course of the five years and more than 50 episodes of TV we’d worked on together. After the show was cancelled in the summer of 1963, we’d stayed in touch. I’d spent the night at his family’s house. We’d gone to a “Twist” party when that dance was all the rage. We ate lunch at Bob’s Big Boy. But when we went to different high schools in the San Fernando Valley, we drifted apart. By the time I left for college back East, I hadn’t seen him for several years. \u003c/p>\n\u003cfigure id=\"attachment_13810037\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg\" alt=\" Jerry Mathers in his Air Force Reserve uniform\" width=\"600\" height=\"648\" class=\"size-full wp-image-13810037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-520x562.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mathers in his Air Force Reserve uniform \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’d known he’d signed up for some sort of military service. In 1967 he handed out an Emmy to Gene Kelly, and I saw him in a newspaper wearing his Air Force uniform and sporting a shaved head. Now he was dead? Why hadn’t I reached out to him, and tried to convince him not to put his life at risk in what I had come to regard as an immoral, unjust, unnecessary conflict? \u003c/p>\n\u003cp>Back in my dorm, I made some calls and wrote some letters. No one seemed to know for sure if he was dead. It was all so depressing, so “heavy,” as we used to say, and it felt almost too symbolic. For my baby boomer TV generation, the character of the Beaver was nearly as iconic as Tom Sawyer. He was the all-American suburban kid, constantly getting into scrapes and mishaps, often misled by his prankish pal Gilbert (played by me), and yet thanks to his basic goodness and loving (if sometimes clueless) parents he always emerged unscathed, perhaps even having learned a lesson or two. Now he’d grown up only to be killed in Vietnam? \u003c/p>\n\u003cp>You might say the Beaver was a symbol of late 1950s, early ’60s American innocence — cute, freckled, playful, a little gullible. Just a few months after the last episode of “Beaver” aired on ABC, President John Kennedy was assassinated. The innocence of the \u003cem>Leave it to Beaver\u003c/em> era was shattered. Now the war in Vietnam was tearing the country asunder and Beaver was its latest victim. Things were falling apart. I was an English major and I kept hearing those lines of Yeats: “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” \u003c/p>\n\u003cfigure id=\"attachment_13810035\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg\" alt=\"Scene from a TV episode of 'Leave it to Beaver' -- the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara)\" width=\"632\" height=\"383\" class=\"size-full wp-image-13810035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-520x315.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Scene from a TV episode of ‘Leave it to Beaver’ — the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara) \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, it wasn’t true. Beaver was alive, much to my relief. \u003c/p>\n\u003cp>Jerry Mathers had joined the Air Force Reserves, but he never left the United States. He never fought in Vietnam. But the rumor of his death lived on. It became an urban myth. (Weirdly, the “Beaver” series generated more than its share of these myths. For example, \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Osmond\" rel=\"noopener\" target=\"_blank\">Ken Osmond\u003c/a>, who played the famously two-faced Eddie Haskell character, did not grow up to be a porn star like the urban legend said. He actually became an LAPD motorcycle cop.)\u003c/p>\n\u003cp>Tracing back the origins of Beaver’s alleged death, it turns out there was a 21-year-old Sgt. Steven Mathers who was killed in Vietnam in October of ’68. Associated Press and UPI stories erroneously reported this was the Beaver, and the case of mistaken identity spread from there — actress Shelly Winters even announced it to Johnny Carson on \u003cem>The Tonight Show\u003c/em>. Jerry Mathers said later the rumor was so prevalent that his good friend Tony Dow, who played his TV brother Wally, actually sent bereavement flowers to his parents’ home.\u003c/p>\n\u003cfigure id=\"attachment_13810036\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg\" alt=\"Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform\" width=\"800\" height=\"1071\" class=\"size-medium wp-image-13810036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1920x2571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-960x1285.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-520x696.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66.jpg 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grateful that Jerry was really alive, I redoubled my efforts in the anti-war movement. Others I knew were being drafted. Everyone seemed to know someone who had been wounded or killed in Vietnam. In a few short years I’d gone from being a cadet in a military school (the all-boys Harvard School in North Hollywood) to becoming an anti-war activist, who would be teargassed and arrested in protests, and worked closely with groups like Vietnam Veterans Against the War. Thankfully Nixon’s lottery system, installed just as I graduated from college in 1970, randomly gave me such a low number that I escaped the draft. Watching the lottery picks on TV felt like a surreal episode of \u003cem>You Bet Your Life\u003c/em>.\u003c/p>\n\u003cp>The violent death in a controversial war of a cherished TV star was a difficult rumor to put to rest. But that’s all it was, just a nightmare rumor. Unfortunately, the Vietnam War itself was all too real. Somewhere between 2.5 and 3.5 million Vietnamese soldiers and civilians perished in that conflict, as well as some 58,000 Americans. My friend Jerry was fortunately not one those casualties. But the widespread rumor of his death reflected something very real about the anxiety and despair that had settled over the United States during the Vietnam War. My generation’s innocence was dead, replaced with anger and cynicism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Did you hear that the Beaver got killed in Vietnam?” \u003c/p>\n\u003cp>I was visiting Amherst College in Massachusetts in the late ’60s, attending some sort of anti-war gathering, and this older student took me aside to give me the bad news. In those days I didn’t like talking about my past as a child actor, including my years on TV playing Beaver’s best friend, Gilbert, on \u003cem>Leave it to Beaver\u003c/em>. It seemed too superficial and irrelevant and just plain embarrassing when the country was at war, and cities and campuses were on fire. \u003c/p>\n\u003cp>But this guy knew my secret and he wanted to tell me the awful truth. \u003c/p>\n\u003cp>His words stopped me cold. I didn’t believe him, or at least I didn’t want to. Even though I was living in Connecticut while I was going to Wesleyan University, far from my family and friends in Los Angeles, surely I would have heard if my TV buddy had died. Then again, there had been so many deaths, assassinations and shocking events in the 1960s that maybe this was just one more surreal, tragic loss. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13810077\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was in the papers,” he said, “people are talking about it on the radio.”\u003c/p>\n\u003cp>“Maybe,” he added, “this will wake people up. Nobody’s safe anymore, even Beaver Cleaver.”\u003c/p>\n\u003cp>He was right. The death of a TV icon in Vietnam would probably strike home with many Americans, especially those in suburbia and the heartland. Just the people we needed to reach. Maybe more would turn against the war.\u003c/p>\n\u003cp>But it was hard to think that way at the moment. \u003c/p>\n\u003cp>I felt sick. I was stung by guilt. Jerry and I had become friends in the course of the five years and more than 50 episodes of TV we’d worked on together. After the show was cancelled in the summer of 1963, we’d stayed in touch. I’d spent the night at his family’s house. We’d gone to a “Twist” party when that dance was all the rage. We ate lunch at Bob’s Big Boy. But when we went to different high schools in the San Fernando Valley, we drifted apart. By the time I left for college back East, I hadn’t seen him for several years. \u003c/p>\n\u003cfigure id=\"attachment_13810037\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg\" alt=\" Jerry Mathers in his Air Force Reserve uniform\" width=\"600\" height=\"648\" class=\"size-full wp-image-13810037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-520x562.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mathers in his Air Force Reserve uniform \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’d known he’d signed up for some sort of military service. In 1967 he handed out an Emmy to Gene Kelly, and I saw him in a newspaper wearing his Air Force uniform and sporting a shaved head. Now he was dead? Why hadn’t I reached out to him, and tried to convince him not to put his life at risk in what I had come to regard as an immoral, unjust, unnecessary conflict? \u003c/p>\n\u003cp>Back in my dorm, I made some calls and wrote some letters. No one seemed to know for sure if he was dead. It was all so depressing, so “heavy,” as we used to say, and it felt almost too symbolic. For my baby boomer TV generation, the character of the Beaver was nearly as iconic as Tom Sawyer. He was the all-American suburban kid, constantly getting into scrapes and mishaps, often misled by his prankish pal Gilbert (played by me), and yet thanks to his basic goodness and loving (if sometimes clueless) parents he always emerged unscathed, perhaps even having learned a lesson or two. Now he’d grown up only to be killed in Vietnam? \u003c/p>\n\u003cp>You might say the Beaver was a symbol of late 1950s, early ’60s American innocence — cute, freckled, playful, a little gullible. Just a few months after the last episode of “Beaver” aired on ABC, President John Kennedy was assassinated. The innocence of the \u003cem>Leave it to Beaver\u003c/em> era was shattered. Now the war in Vietnam was tearing the country asunder and Beaver was its latest victim. Things were falling apart. I was an English major and I kept hearing those lines of Yeats: “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” \u003c/p>\n\u003cfigure id=\"attachment_13810035\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg\" alt=\"Scene from a TV episode of 'Leave it to Beaver' -- the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara)\" width=\"632\" height=\"383\" class=\"size-full wp-image-13810035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-520x315.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Scene from a TV episode of ‘Leave it to Beaver’ — the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara) \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, it wasn’t true. Beaver was alive, much to my relief. \u003c/p>\n\u003cp>Jerry Mathers had joined the Air Force Reserves, but he never left the United States. He never fought in Vietnam. But the rumor of his death lived on. It became an urban myth. (Weirdly, the “Beaver” series generated more than its share of these myths. For example, \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Osmond\" rel=\"noopener\" target=\"_blank\">Ken Osmond\u003c/a>, who played the famously two-faced Eddie Haskell character, did not grow up to be a porn star like the urban legend said. He actually became an LAPD motorcycle cop.)\u003c/p>\n\u003cp>Tracing back the origins of Beaver’s alleged death, it turns out there was a 21-year-old Sgt. Steven Mathers who was killed in Vietnam in October of ’68. Associated Press and UPI stories erroneously reported this was the Beaver, and the case of mistaken identity spread from there — actress Shelly Winters even announced it to Johnny Carson on \u003cem>The Tonight Show\u003c/em>. Jerry Mathers said later the rumor was so prevalent that his good friend Tony Dow, who played his TV brother Wally, actually sent bereavement flowers to his parents’ home.\u003c/p>\n\u003cfigure id=\"attachment_13810036\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg\" alt=\"Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform\" width=\"800\" height=\"1071\" class=\"size-medium wp-image-13810036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1920x2571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-960x1285.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-520x696.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66.jpg 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grateful that Jerry was really alive, I redoubled my efforts in the anti-war movement. Others I knew were being drafted. Everyone seemed to know someone who had been wounded or killed in Vietnam. In a few short years I’d gone from being a cadet in a military school (the all-boys Harvard School in North Hollywood) to becoming an anti-war activist, who would be teargassed and arrested in protests, and worked closely with groups like Vietnam Veterans Against the War. Thankfully Nixon’s lottery system, installed just as I graduated from college in 1970, randomly gave me such a low number that I escaped the draft. Watching the lottery picks on TV felt like a surreal episode of \u003cem>You Bet Your Life\u003c/em>.\u003c/p>\n\u003cp>The violent death in a controversial war of a cherished TV star was a difficult rumor to put to rest. But that’s all it was, just a nightmare rumor. Unfortunately, the Vietnam War itself was all too real. Somewhere between 2.5 and 3.5 million Vietnamese soldiers and civilians perished in that conflict, as well as some 58,000 Americans. My friend Jerry was fortunately not one those casualties. But the widespread rumor of his death reflected something very real about the anxiety and despair that had settled over the United States during the Vietnam War. My generation’s innocence was dead, replaced with anger and cynicism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Decades after the brutal conflict divided soldiers and civilians both on and off the battlefield, filmmakers Ken Burns and Lynn Novick take on the history of the Vietnam War in a 10-part,\u003c/span> \u003cspan style=\"font-weight: 400\">18-hour documentary series. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The Vietnam War\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> premieres on national PBS on Sunday, Sept. 17 and airs through Sept. 28. Check local listings for exact times.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>When W. Kamau Bell and his show \u003ci>United Shades of America\u003c/i> won the Emmy Award for Outstanding Unstructured Reality Program last Saturday, many were surprised — but none more than Bell himself. \u003c/p>\n\u003cp>“I was waiting for the words \u003cem>Born This Way\u003c/em>,” Bell said \u003ca href=\"http://deadline.com/2017/09/united-shades-of-america-w-kamau-bell-creative-arts-emmys-1202165777/\" target=\"_blank\" rel=\"noopener\">after the ceremony\u003c/a>, referring to the show on A&E that won the year before.\u003c/p>\n\u003cp>But the Berkeley-based comedian happily accepted the award, a tangible symbol of how much he’s bounced back after his first TV show, the Chris Rock-produced \u003ci>Totally Biased with W. Kamau Bell,\u003c/i> was \u003ca href=\"http://www.salon.com/2013/11/15/w_kamau_bell_on_totally_biased_the_show_was_canceled_i%E2%80%99m_not_canceled/\" target=\"_blank\" rel=\"noopener\">canceled in 2013\u003c/a>. After the cancellation, Bell told KQED, he’d had the feeling his career was over.\u003c/p>\n\u003cp>“I wouldn’t be the first person to have a big opportunity, have that opportunity not work out and then disappear into the ether,” Bell said.\u003c/p>\n\u003cp>At the time, Bell had a daughter at home and another on the way, so he felt he couldn’t just give up on show business. He returned to stand-up comedy, but he also took a lot of meetings, mostly with news organizations who were looking to make their political coverage more entertaining. One of those meetings was at CNN.\u003c/p>\n\u003cfigure id=\"attachment_13808403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg\" alt=\"W. Kamau Bell with his Emmy\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13808403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell with his Emmy. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CNN initially pitched a travel show in the same vein as Anthony Bourdain’s \u003ci>Parts Unknown\u003c/i> or \u003ci>This Is Life With Lisa Ling,\u003c/i> but its focus would be on sending a black comedian to largely white areas in America. Bell liked the idea of a travel show, but shot down the “white area” premise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It would’ve been, ‘Once again, Kamau goes to the country club! It just wouldn’t have had the same impact,” Bell said. \u003c/p>\n\u003cp>Kamau and the production company All3Media decided to use the show to explore \u003ca href=\"http://deadline.com/2015/03/kamau-bell-reza-aslan-cnn-kevin-spacey-1201389691/\" target=\"_blank\" rel=\"noopener\">the country’s subcultures\u003c/a>, and came up with the name \u003ci>United Shades of America.\u003c/i>\u003c/p>\n\u003cp>Yet the first place Bell and the team to decided to visit couldn’t have been more white: the home base of the Ku Klux Klan. The pilot episode, which seemed on its face to be a dangerous trip for its 6-foot-4-inch black host, was Bell’s idea.\u003c/p>\n\u003cp>“They couldn’t have talked me into it if it wasn’t my idea,” Bell said. \u003c/p>\n\u003cp>Bell said he’s always been interested in the KKK, and the episode shot for the show’s first season provided a revealing look at the current state of white supremacy almost a year before the riots in \u003ca href=\"http://www.aljazeera.com/news/2017/08/charlottesville-attack-170813081045115.html\" target=\"_blank\" rel=\"noopener\">Charlottesville\u003c/a>. Aired to great critical reception, it showed that white supremacists were quite organized in some areas of the south, and that cross-burnings were still a tradition in others.\u003c/p>\n\u003cp>“Since then, if I’m ever stopped in an airport, 80 percent of the time we’re talking about the KKK,” Bell said.\u003c/p>\n\u003cp>It became the show’s flagship episode, leading to the show’s first Emmy nomination, recognition which Bell cites as the reason for CNN’s decision to extend the show a second season. (\u003ci>United Shades\u003c/i> lost the Emmy to \u003ci>Born This Way\u003c/i> that year.)\u003c/p>\n\u003cp>Bell and his team kicked off the second season with a show that focused on immigration but also touched on white supremacy — it even featured an interview with \u003ca href=\"http://www.cnn.com/videos/tv/2017/04/19/united-shades-of-america-richard-spencer-ron-1.cnn/video/playlists/w-kamau-bell-united-shades/\" target=\"_blank\" rel=\"noopener\">white nationalist Richard Spencer\u003c/a>. But while that was the episode “everyone talked about,” according to Bell, this year CNN submitted an episode about Chicago’s persistent gang violence for Emmy consideration. For Bell, it was the highlight of \u003ci>United Shades’\u003c/i> second season because it not only portrayed the region’s problems but how hard the community was working to fix them. \u003c/p>\n\u003cp>“It showed a lot of men who are active members of gangs or had been in gangs, talking about why they knew that wasn’t the life they should be in, and they all had solutions to the problems,” Bell said. “If we solve Chicago’s problem, we solve the problems of all the urban environments in this country.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IlN6GRtcWMo\u003c/p>\n\u003cp>After the second season, the show was nominated for two Emmys — Outstanding Unstructured Reality Program and Outstanding Host for a Reality or Reality-Competition Program. The second nomination was a surprise for Bell. \u003c/p>\n\u003cp>“I was shocked by that, because I was up against Adam Baldwin, and RuPaul, and Heidi Klum and Tim Gunn, and Snoop Dogg and Martha Stewart. I can’t even get into that afterparty!” Bell said.\u003c/p>\n\u003cp>Bell lost the hosting Emmy to RuPaul (according to Bell, “RuPaul should win all the awards”) but the show itself won, which Bell said he appreciates for the honor it extends to the whole production team, some of whom have worked in TV for decades without Emmy recognition.\u003c/p>\n\u003cp>“If I had to choose between me winning my own award and the show winning, I’d chose the show every time,” Bell said. “It’s just more fun that way.”\u003c/p>\n\u003cp>Now back in Berkeley, Bell remains busy. Between hosting \u003ca href=\"http://www.wkamaubell.com/podcasts/\" target=\"_blank\" rel=\"noopener\">multiple podcasts\u003c/a> and performing standup \u003ca href=\"https://www.eventbrite.com/e/verdi-wild-things-are-standup-comedy-wfiorentini-muse-green-tickets-32992965849\" target=\"_blank\" rel=\"noopener\">Sept. 14 at the Verdi Club\u003c/a> in San Francisco, he’s currently working on a third season of \u003ci>United Shades of America\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When W. Kamau Bell and his show \u003ci>United Shades of America\u003c/i> won the Emmy Award for Outstanding Unstructured Reality Program last Saturday, many were surprised — but none more than Bell himself. \u003c/p>\n\u003cp>“I was waiting for the words \u003cem>Born This Way\u003c/em>,” Bell said \u003ca href=\"http://deadline.com/2017/09/united-shades-of-america-w-kamau-bell-creative-arts-emmys-1202165777/\" target=\"_blank\" rel=\"noopener\">after the ceremony\u003c/a>, referring to the show on A&E that won the year before.\u003c/p>\n\u003cp>But the Berkeley-based comedian happily accepted the award, a tangible symbol of how much he’s bounced back after his first TV show, the Chris Rock-produced \u003ci>Totally Biased with W. Kamau Bell,\u003c/i> was \u003ca href=\"http://www.salon.com/2013/11/15/w_kamau_bell_on_totally_biased_the_show_was_canceled_i%E2%80%99m_not_canceled/\" target=\"_blank\" rel=\"noopener\">canceled in 2013\u003c/a>. After the cancellation, Bell told KQED, he’d had the feeling his career was over.\u003c/p>\n\u003cp>“I wouldn’t be the first person to have a big opportunity, have that opportunity not work out and then disappear into the ether,” Bell said.\u003c/p>\n\u003cp>At the time, Bell had a daughter at home and another on the way, so he felt he couldn’t just give up on show business. He returned to stand-up comedy, but he also took a lot of meetings, mostly with news organizations who were looking to make their political coverage more entertaining. One of those meetings was at CNN.\u003c/p>\n\u003cfigure id=\"attachment_13808403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg\" alt=\"W. Kamau Bell with his Emmy\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13808403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell with his Emmy. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CNN initially pitched a travel show in the same vein as Anthony Bourdain’s \u003ci>Parts Unknown\u003c/i> or \u003ci>This Is Life With Lisa Ling,\u003c/i> but its focus would be on sending a black comedian to largely white areas in America. Bell liked the idea of a travel show, but shot down the “white area” premise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would’ve been, ‘Once again, Kamau goes to the country club! It just wouldn’t have had the same impact,” Bell said. \u003c/p>\n\u003cp>Kamau and the production company All3Media decided to use the show to explore \u003ca href=\"http://deadline.com/2015/03/kamau-bell-reza-aslan-cnn-kevin-spacey-1201389691/\" target=\"_blank\" rel=\"noopener\">the country’s subcultures\u003c/a>, and came up with the name \u003ci>United Shades of America.\u003c/i>\u003c/p>\n\u003cp>Yet the first place Bell and the team to decided to visit couldn’t have been more white: the home base of the Ku Klux Klan. The pilot episode, which seemed on its face to be a dangerous trip for its 6-foot-4-inch black host, was Bell’s idea.\u003c/p>\n\u003cp>“They couldn’t have talked me into it if it wasn’t my idea,” Bell said. \u003c/p>\n\u003cp>Bell said he’s always been interested in the KKK, and the episode shot for the show’s first season provided a revealing look at the current state of white supremacy almost a year before the riots in \u003ca href=\"http://www.aljazeera.com/news/2017/08/charlottesville-attack-170813081045115.html\" target=\"_blank\" rel=\"noopener\">Charlottesville\u003c/a>. Aired to great critical reception, it showed that white supremacists were quite organized in some areas of the south, and that cross-burnings were still a tradition in others.\u003c/p>\n\u003cp>“Since then, if I’m ever stopped in an airport, 80 percent of the time we’re talking about the KKK,” Bell said.\u003c/p>\n\u003cp>It became the show’s flagship episode, leading to the show’s first Emmy nomination, recognition which Bell cites as the reason for CNN’s decision to extend the show a second season. (\u003ci>United Shades\u003c/i> lost the Emmy to \u003ci>Born This Way\u003c/i> that year.)\u003c/p>\n\u003cp>Bell and his team kicked off the second season with a show that focused on immigration but also touched on white supremacy — it even featured an interview with \u003ca href=\"http://www.cnn.com/videos/tv/2017/04/19/united-shades-of-america-richard-spencer-ron-1.cnn/video/playlists/w-kamau-bell-united-shades/\" target=\"_blank\" rel=\"noopener\">white nationalist Richard Spencer\u003c/a>. But while that was the episode “everyone talked about,” according to Bell, this year CNN submitted an episode about Chicago’s persistent gang violence for Emmy consideration. For Bell, it was the highlight of \u003ci>United Shades’\u003c/i> second season because it not only portrayed the region’s problems but how hard the community was working to fix them. \u003c/p>\n\u003cp>“It showed a lot of men who are active members of gangs or had been in gangs, talking about why they knew that wasn’t the life they should be in, and they all had solutions to the problems,” Bell said. “If we solve Chicago’s problem, we solve the problems of all the urban environments in this country.” \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/IlN6GRtcWMo'\n title='//www.youtube.com/embed/IlN6GRtcWMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the second season, the show was nominated for two Emmys — Outstanding Unstructured Reality Program and Outstanding Host for a Reality or Reality-Competition Program. The second nomination was a surprise for Bell. \u003c/p>\n\u003cp>“I was shocked by that, because I was up against Adam Baldwin, and RuPaul, and Heidi Klum and Tim Gunn, and Snoop Dogg and Martha Stewart. I can’t even get into that afterparty!” Bell said.\u003c/p>\n\u003cp>Bell lost the hosting Emmy to RuPaul (according to Bell, “RuPaul should win all the awards”) but the show itself won, which Bell said he appreciates for the honor it extends to the whole production team, some of whom have worked in TV for decades without Emmy recognition.\u003c/p>\n\u003cp>“If I had to choose between me winning my own award and the show winning, I’d chose the show every time,” Bell said. “It’s just more fun that way.”\u003c/p>\n\u003cp>Now back in Berkeley, Bell remains busy. Between hosting \u003ca href=\"http://www.wkamaubell.com/podcasts/\" target=\"_blank\" rel=\"noopener\">multiple podcasts\u003c/a> and performing standup \u003ca href=\"https://www.eventbrite.com/e/verdi-wild-things-are-standup-comedy-wfiorentini-muse-green-tickets-32992965849\" target=\"_blank\" rel=\"noopener\">Sept. 14 at the Verdi Club\u003c/a> in San Francisco, he’s currently working on a third season of \u003ci>United Shades of America\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Deuce,' Sex Isn't Titillating — It's Business",
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"content": "\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \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=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \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=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Shelley Berman, who won gold records and appeared on top television shows in the 1950s and 1960s delivering wry monologues about the annoyances of everyday life, has died. He was 92.\u003c/p>\n\u003cp>Berman died Friday at his home in Bell Canyon, California, from complications from Alzheimer’s disease, according to spokesman Glenn Schwartz.\u003c/p>\n\u003cp>Berman was a pioneer of a new brand of comedy that could evoke laughter from such matters as air travel discomforts and small children who answer the telephone. He helped pave the way for Bob Newhart, Woody Allen, Jerry Seinfeld and other standup comedians who fashioned their routines around the follies and frustrations of modern living.\u003c/p>\n\u003cp>Late in his career, he played Nat David, father of Larry David, on HBO’s \u003cem>Curb Your Enthusiasm\u003c/em>. With dialogue improvised by its cast, the comedy series gave Berman the opportunity to return to his improv roots and introduced him to a new generation of TV viewers.\u003c/p>\n\u003cp>“I’m not a standup comedian,” Berman often insisted. “I work on a stool.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Comedy was not a childhood ambition for him. He trained as an actor, with the Goodman School of Drama in his native Chicago and with the prestigious actress-teacher Uta Hagen in New York.\u003c/p>\n\u003cp>“I had dreams of being an actor,” he said in a 1960 interview. “For 10 years I tried, picking up small jobs in summer stock and TV. I had a hard time of it.”\u003c/p>\n\u003cp>As a last resort, he put together a 20-minute routine and auditioned at the Chicago nightclub Mister Kelly’s. He was given a job, and then he had to scramble to write more material for a half-hour show.\u003c/p>\n\u003cp>“I was always one of those life-of-the-party boys,” he admitted, “though I never stooped to wearing women’s hats or lampshades. I was always making people laugh, in school and later in life.”\u003c/p>\n\u003cp>Berman’s success in Chicago led to a booking in Las Vegas. He bombed. The gamblers didn’t laugh nor did they talk. Accustomed to slam-bang comics out of vaudeville and burlesque, they listened in amazement to the guy sitting on a stool and using big words with a routine that often consisted of one side of a make-believe phone call.\u003c/p>\n\u003cp>He continued on the saloon circuit, honing his craft and deciding on which direction to go. He didn’t fit any category. He wasn’t a joke teller nor a “sick” comedian. He figured he was a “humanist humorist.”\u003c/p>\n\u003cp>Berman made the first of many appearances on \u003cem>The Ed Sullivan Show\u003c/em> in 1959. That year he issued his first album, \u003cem>Inside Shelley Berman\u003c/em>. It won a gold record and received the first-ever Grammy Award for the spoken word. Two more albums achieved gold status.\u003c/p>\n\u003cp>Along with his busy schedule in nightclubs and auditoriums, he fulfilled his first ambition to be an actor. He appeared in a Broadway play, \u003cem>The Boys Against the Girls\u003c/em>, in 1959 and a musical, \u003cem>A Family Affair\u003c/em>, in 1962. His film debut came in 1964 with the adaptation of Gore Vidal’s hit political stage drama \u003cem>The Best Man\u003c/em>, starring Henry Fonda and Cliff Robertson.\u003c/p>\n\u003cp>Berman’s comedy career stalled in 1963. He was performing his act before an audience for a documentary-style NBC show, \u003cem>Comedian Backstage\u003c/em>, when a telephone ringing interrupted him; it was the second night it happened. He stormed backstage and ranted at everyone in sight. His outburst, edited to make him appear temperamental, was included in the telecast.\u003c/p>\n\u003cp>“Once you’re known as being difficult, it becomes too hard to deal with management and even fellow artists,” he remarked in 1986. The bookings fell off, and Berman returned to acting, with little luck. He and his wife, Sarah, were forced to file for bankruptcy, and he began a long struggle to pay off his taxes and creditors.\u003c/p>\n\u003cp>He found work in television series such as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rawhide\u003c/em> and \u003cem>Peter Gunn\u003c/em> and occasional movies including \u003cem>Divorce American Style\u003c/em>. He became active in regional theater and also worked his old routines before college and lecture audiences.\u003c/p>\n\u003cp>For more than 20 years he taught comedy at the University of Southern California.\u003c/p>\n\u003cp>In recent years, he landed guest roles on series including \u003cem>The King of Queens\u003c/em>,\u003cem> Boston Legal\u003c/em> and \u003cem>CSI: NY\u003c/em>, and appeared in the film \u003cem>Meet the Fockers\u003c/em>.\u003c/p>\n\u003cp>He retired from performing in 2014 after being diagnosed with Alzheimer’s disease.\u003c/p>\n\u003cp>Sheldon Leonard Berman was born in Chicago and attended public schools. After training as an actor, he joined an improvisational company in Chicago, Compass Players, the beginning of the famed Second City. Watching his fellow performers, Mike Nichols and Elaine May, Berman said in 2000, “I learned more in two weeks than I did in four years at Goodman.”\u003c/p>\n\u003cp>He married in 1947, and he credited Sarah with helping him to survive through his jobless period while trying to be a comedian, the bankruptcy, the rebuilding of his career and the loss of their son, Joshua. They also had a daughter, Rachel, who, along with his wife, survives him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Berman said of his marriage: “The love we have and the way it has grown, that’s what I’d like to be remembered for.”\u003cbr>\n___\u003cbr>\nThe late Associated Press entertainer writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Comedy was not a childhood ambition for him. He trained as an actor, with the Goodman School of Drama in his native Chicago and with the prestigious actress-teacher Uta Hagen in New York.\u003c/p>\n\u003cp>“I had dreams of being an actor,” he said in a 1960 interview. “For 10 years I tried, picking up small jobs in summer stock and TV. I had a hard time of it.”\u003c/p>\n\u003cp>As a last resort, he put together a 20-minute routine and auditioned at the Chicago nightclub Mister Kelly’s. He was given a job, and then he had to scramble to write more material for a half-hour show.\u003c/p>\n\u003cp>“I was always one of those life-of-the-party boys,” he admitted, “though I never stooped to wearing women’s hats or lampshades. I was always making people laugh, in school and later in life.”\u003c/p>\n\u003cp>Berman’s success in Chicago led to a booking in Las Vegas. He bombed. The gamblers didn’t laugh nor did they talk. Accustomed to slam-bang comics out of vaudeville and burlesque, they listened in amazement to the guy sitting on a stool and using big words with a routine that often consisted of one side of a make-believe phone call.\u003c/p>\n\u003cp>He continued on the saloon circuit, honing his craft and deciding on which direction to go. He didn’t fit any category. He wasn’t a joke teller nor a “sick” comedian. He figured he was a “humanist humorist.”\u003c/p>\n\u003cp>Berman made the first of many appearances on \u003cem>The Ed Sullivan Show\u003c/em> in 1959. That year he issued his first album, \u003cem>Inside Shelley Berman\u003c/em>. It won a gold record and received the first-ever Grammy Award for the spoken word. Two more albums achieved gold status.\u003c/p>\n\u003cp>Along with his busy schedule in nightclubs and auditoriums, he fulfilled his first ambition to be an actor. He appeared in a Broadway play, \u003cem>The Boys Against the Girls\u003c/em>, in 1959 and a musical, \u003cem>A Family Affair\u003c/em>, in 1962. His film debut came in 1964 with the adaptation of Gore Vidal’s hit political stage drama \u003cem>The Best Man\u003c/em>, starring Henry Fonda and Cliff Robertson.\u003c/p>\n\u003cp>Berman’s comedy career stalled in 1963. He was performing his act before an audience for a documentary-style NBC show, \u003cem>Comedian Backstage\u003c/em>, when a telephone ringing interrupted him; it was the second night it happened. He stormed backstage and ranted at everyone in sight. His outburst, edited to make him appear temperamental, was included in the telecast.\u003c/p>\n\u003cp>“Once you’re known as being difficult, it becomes too hard to deal with management and even fellow artists,” he remarked in 1986. The bookings fell off, and Berman returned to acting, with little luck. He and his wife, Sarah, were forced to file for bankruptcy, and he began a long struggle to pay off his taxes and creditors.\u003c/p>\n\u003cp>He found work in television series such as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rawhide\u003c/em> and \u003cem>Peter Gunn\u003c/em> and occasional movies including \u003cem>Divorce American Style\u003c/em>. He became active in regional theater and also worked his old routines before college and lecture audiences.\u003c/p>\n\u003cp>For more than 20 years he taught comedy at the University of Southern California.\u003c/p>\n\u003cp>In recent years, he landed guest roles on series including \u003cem>The King of Queens\u003c/em>,\u003cem> Boston Legal\u003c/em> and \u003cem>CSI: NY\u003c/em>, and appeared in the film \u003cem>Meet the Fockers\u003c/em>.\u003c/p>\n\u003cp>He retired from performing in 2014 after being diagnosed with Alzheimer’s disease.\u003c/p>\n\u003cp>Sheldon Leonard Berman was born in Chicago and attended public schools. After training as an actor, he joined an improvisational company in Chicago, Compass Players, the beginning of the famed Second City. Watching his fellow performers, Mike Nichols and Elaine May, Berman said in 2000, “I learned more in two weeks than I did in four years at Goodman.”\u003c/p>\n\u003cp>He married in 1947, and he credited Sarah with helping him to survive through his jobless period while trying to be a comedian, the bankruptcy, the rebuilding of his career and the loss of their son, Joshua. They also had a daughter, Rachel, who, along with his wife, survives him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Berman said of his marriage: “The love we have and the way it has grown, that’s what I’d like to be remembered for.”\u003cbr>\n___\u003cbr>\nThe late Associated Press entertainer writer Bob Thomas contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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