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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "In ‘The Deuce,’ Sex Isn’t Titillating — It’s Business | KQED",
"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>\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>\u003c/p>\u003c/div>",
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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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"content": "\u003cp>\u003cstrong>Oct. 10-11\u003c/strong>: Samantha Bee is a leader of the new wave of political comedy on TV, hosting the daily news-skewering show \u003ca href=\"http://samanthabee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Full Frontal\u003c/em> \u003c/a>on TBS. And in the age of Trump, she’s as big a draw as any comedian out there, even for these live appearances billed as just talking. She comes to Stanford. \u003ca href=\"http://events.stanford.edu/events/691/69199/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And UC Davis. \u003ca href=\"https://www.mondaviarts.org/event/2017-18/conversation-samantha-bee\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TjybXsyCjv0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>On the Do List this week, we welcome back Jamedra Brown Fleischman, co-host of KQED’s podcast \u003cem>The Cooler\u003c/em>, to help with the show. And we found plenty to entertain us: a singer with a luscious voice, a black-light experience that’s a great family choice, the answer to the question, “what does art sound like,” and the kings of surf-goth.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Sept. 26\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Singer-songwriter \u003c/a>\u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Moses Sumney plays the Great American Music Hall\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 25-27\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVEn\" target=\"_blank\" rel=\"noopener noreferrer\">Crotchety Comedian John Witherspoon comes to San Jose Improv\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 16:\u003c/strong>\u003ca href=\"http://www.blacklightslide.com/sanjoseca/\" target=\"_blank\" rel=\"noopener noreferrer\"> Glowing up with a blacklight slide at the Santa Clara County Fairgrounds\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Through Jan. 1, 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVEM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soundtracks\u003c/em> is an exhibition at SFMOMA that you have to hear to believe \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 6 and 8-11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVER\" target=\"_blank\" rel=\"noopener noreferrer\">SoCal pop stars The Growlers play San Jose and San Francisco \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27, Sept. 1, and Sept 11: \u003c/strong>\u003ca href=\"http://www.livinonahighnote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The legendary gospel and soul singer Mavis Staples is busy in Northern California \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">Thronies Alert: a season finale viewing party for \u003cem>Game of Thrones\u003c/em> at the New Parkway in Oakland\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://allevents.in/oakland/hella-insecure-battle-of-the-sexes-oakland-edition/140263023229703\" target=\"_blank\" rel=\"noopener noreferrer\">And \u003cem>Insecure\u003c/em> fans get a season finale party of their own, at the Au Lounge, also in Oakland\u003c/a> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003c/a>\u003c/li>\n\u003c/ul>\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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, we welcome back Jamedra Brown Fleischman, co-host of KQED’s podcast \u003cem>The Cooler\u003c/em>, to help with the show. And we found plenty to entertain us: a singer with a luscious voice, a black-light experience that’s a great family choice, the answer to the question, “what does art sound like,” and the kings of surf-goth.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Sept. 26\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Singer-songwriter \u003c/a>\u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Moses Sumney plays the Great American Music Hall\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 25-27\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVEn\" target=\"_blank\" rel=\"noopener noreferrer\">Crotchety Comedian John Witherspoon comes to San Jose Improv\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 16:\u003c/strong>\u003ca href=\"http://www.blacklightslide.com/sanjoseca/\" target=\"_blank\" rel=\"noopener noreferrer\"> Glowing up with a blacklight slide at the Santa Clara County Fairgrounds\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Through Jan. 1, 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVEM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soundtracks\u003c/em> is an exhibition at SFMOMA that you have to hear to believe \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 6 and 8-11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVER\" target=\"_blank\" rel=\"noopener noreferrer\">SoCal pop stars The Growlers play San Jose and San Francisco \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27, Sept. 1, and Sept 11: \u003c/strong>\u003ca href=\"http://www.livinonahighnote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The legendary gospel and soul singer Mavis Staples is busy in Northern California \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">Thronies Alert: a season finale viewing party for \u003cem>Game of Thrones\u003c/em> at the New Parkway in Oakland\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://allevents.in/oakland/hella-insecure-battle-of-the-sexes-oakland-edition/140263023229703\" target=\"_blank\" rel=\"noopener noreferrer\">And \u003cem>Insecure\u003c/em> fans get a season finale party of their own, at the Au Lounge, also in Oakland\u003c/a> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003c/a>\u003c/li>\n\u003c/ul>\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": "\u003cp>Actress Pamela Adlon has grown a successful TV career over decades, without ever becoming the stereotype of a tabloid starlet hounded by paparazzi. She starred in \u003cem>Californication,\u003c/em> co-created \u003cem>Louie\u003c/em> with comedian Louis C.K., and won an Emmy for her voice-over work as 12-year-old Bobby Hill on the animated show \u003cem>King of the Hill.\u003c/em> Now she’s doing the most personal work of her life, with the comedy, \u003cem>Better Things.\u003c/em>\u003c/p>\n\u003cp>On the show, Adlon plays Sam, a single mom raising three daughters, with a mother who lives across the street. In real life, Adlon has raised three daughters on her own, and her mother lives across the street. In the credits of \u003cem>Better Things,\u003c/em> Adlon has four titles: actress, writer, director, producer.\u003c/p>\n\u003cp>While some TV programs seem created by committee with a team of network executives, \u003cem>Better Things\u003c/em> is 100 percent Adlon. “This show came out of my vagina!” she shouts in her familiar raspy voice.\u003c/p>\n\u003cp>When we meet Adlon, she is dressed exactly like her character on the show. Her team is doing the final touch-ups on season two, which airs on FX in mid-September. The first season won a Peabody, and Adlon just received an Emmy nomination for Outstanding Leading Actress in a Comedy Series. Her post-production offices are in a nondescript, brutalist concrete building that looks like it was suddenly abandoned 20 years ago. On the floor where Adlon works, there are half-dismantled cubicles and floppy disks scattered on the stained carpet.\u003c/p>\n\u003cp>“I’ve done photo shoots in here. I take people over and I threw the disks at the photographer,” she says. But it’s not as lowbrow as it looks. “Seth Rogen’s right down the hall!”\u003c/p>\n\u003cfigure id=\"attachment_13806149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg\" alt=\"Some of the scenes in 'Better Things' were inspired by experiences Adlon had with her own daughters. 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Adlon is pictured above with Olivia Edward, who plays Duke. \u003ccite>(Colleen Hayes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She leads us into the room where she’s reviewing the season two premiere. As the episode begins, she explains the personal significance of each camera shot. Some reflect memories of her own daughters, scenes that she recreated with the actresses playing her TV daughters. Even the opening credits are in her own handwriting. “That’s my favorite color, green,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If the show feels authentic, that’s because even the set decorations come from Adlon’s real life. She points out art on the walls painted by her real-life handy man. Characters hold vintage glasses that Adlon collected over the years. After a line of dialogue from Adlon’s TV mother gets a laugh, Adlon says, “That’s what my mother says about my dad … I’m really a fraud, because all I do is just document what my mother says.”\u003c/p>\n\u003cp>Scene by scene, Adlon notes where the sound of a party should be louder, or when the music in a scene hits the wrong emotional note. She also provides a running commentary on the characters’ inner lives. “There should be drinking games for my show that every time Sam takes a deep breath, when she gets a foot to her stomach, take a shot!”\u003c/p>\n\u003cp>When bagels arrive, Adlon insists that everybody stop and eat. Most of the people on her team are women. So are all of the leading actors on \u003cem>Better Things.\u003c/em> That’s still unusual in Hollywood. “I’m the boss of everything on my show and I still feel that weird woman thing,” she says.\u003c/p>\n\u003cp>“Patty Scanlon who plays one of my friends in the show gave me a T-shirt last year that says ‘CEO’ and I was wearing it one day,” says Adlon, “And some guy came up and was like are you the CEO? And I was like, ‘Yes! What are you talking about?’ ”\u003c/p>\n\u003cp>Adlon is defying Hollywood expectations in other ways, too. “Why am I not on the scrap heap, why did everything start happening for me at 50?” she asks. “Isn’t that crazy? You have to work very, very hard. I’ve been working since I’m 9 years old.”\u003c/p>\n\u003cp>\u003cem>Better Things\u003c/em> deals with the realities of aging, and motherhood, and friendship, in a subtle way. There are no cliffhangers, and few dramatic plot twists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to elevate the mundane,” Adlon says. “That’s what you’re seeing. This is the way I live my life.” \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=Pamela+Adlon+Started+Working+At+Age+9%2C+But+%27Better+Things%27+Happened+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Pamela Adlon has grown a successful TV career over decades, without ever becoming the stereotype of a tabloid starlet hounded by paparazzi. She starred in \u003cem>Californication,\u003c/em> co-created \u003cem>Louie\u003c/em> with comedian Louis C.K., and won an Emmy for her voice-over work as 12-year-old Bobby Hill on the animated show \u003cem>King of the Hill.\u003c/em> Now she’s doing the most personal work of her life, with the comedy, \u003cem>Better Things.\u003c/em>\u003c/p>\n\u003cp>On the show, Adlon plays Sam, a single mom raising three daughters, with a mother who lives across the street. In real life, Adlon has raised three daughters on her own, and her mother lives across the street. In the credits of \u003cem>Better Things,\u003c/em> Adlon has four titles: actress, writer, director, producer.\u003c/p>\n\u003cp>While some TV programs seem created by committee with a team of network executives, \u003cem>Better Things\u003c/em> is 100 percent Adlon. “This show came out of my vagina!” she shouts in her familiar raspy voice.\u003c/p>\n\u003cp>When we meet Adlon, she is dressed exactly like her character on the show. Her team is doing the final touch-ups on season two, which airs on FX in mid-September. The first season won a Peabody, and Adlon just received an Emmy nomination for Outstanding Leading Actress in a Comedy Series. Her post-production offices are in a nondescript, brutalist concrete building that looks like it was suddenly abandoned 20 years ago. On the floor where Adlon works, there are half-dismantled cubicles and floppy disks scattered on the stained carpet.\u003c/p>\n\u003cp>“I’ve done photo shoots in here. I take people over and I threw the disks at the photographer,” she says. But it’s not as lowbrow as it looks. “Seth Rogen’s right down the hall!”\u003c/p>\n\u003cfigure id=\"attachment_13806149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg\" alt=\"Some of the scenes in 'Better Things' were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13806149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the scenes in ‘Better Things’ were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke. \u003ccite>(Colleen Hayes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She leads us into the room where she’s reviewing the season two premiere. As the episode begins, she explains the personal significance of each camera shot. Some reflect memories of her own daughters, scenes that she recreated with the actresses playing her TV daughters. Even the opening credits are in her own handwriting. “That’s my favorite color, green,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the show feels authentic, that’s because even the set decorations come from Adlon’s real life. She points out art on the walls painted by her real-life handy man. Characters hold vintage glasses that Adlon collected over the years. After a line of dialogue from Adlon’s TV mother gets a laugh, Adlon says, “That’s what my mother says about my dad … I’m really a fraud, because all I do is just document what my mother says.”\u003c/p>\n\u003cp>Scene by scene, Adlon notes where the sound of a party should be louder, or when the music in a scene hits the wrong emotional note. She also provides a running commentary on the characters’ inner lives. “There should be drinking games for my show that every time Sam takes a deep breath, when she gets a foot to her stomach, take a shot!”\u003c/p>\n\u003cp>When bagels arrive, Adlon insists that everybody stop and eat. Most of the people on her team are women. So are all of the leading actors on \u003cem>Better Things.\u003c/em> That’s still unusual in Hollywood. “I’m the boss of everything on my show and I still feel that weird woman thing,” she says.\u003c/p>\n\u003cp>“Patty Scanlon who plays one of my friends in the show gave me a T-shirt last year that says ‘CEO’ and I was wearing it one day,” says Adlon, “And some guy came up and was like are you the CEO? And I was like, ‘Yes! What are you talking about?’ ”\u003c/p>\n\u003cp>Adlon is defying Hollywood expectations in other ways, too. “Why am I not on the scrap heap, why did everything start happening for me at 50?” she asks. “Isn’t that crazy? You have to work very, very hard. I’ve been working since I’m 9 years old.”\u003c/p>\n\u003cp>\u003cem>Better Things\u003c/em> deals with the realities of aging, and motherhood, and friendship, in a subtle way. There are no cliffhangers, and few dramatic plot twists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to elevate the mundane,” Adlon says. “That’s what you’re seeing. This is the way I live my life.” \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=Pamela+Adlon+Started+Working+At+Age+9%2C+But+%27Better+Things%27+Happened+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Defenders,' Netflix Enlists Marvel Superheroes in Quest for TV Domination",
"headTitle": "In ‘Defenders,’ Netflix Enlists Marvel Superheroes in Quest for TV Domination | KQED",
"content": "\u003cp>The villains in comic books usually have grandiose master plans, like targeting and defeating an enemy or ruling the world. Netflix, as it’s grown to become more and more of a major player in the modern TV universe, has grand plans of its own.\u003c/p>\n\u003cp>Netflix started out, and took root and blossomed, by providing easy access to many of the movies and TV shows made by others. Then it began making its own TV series and movies. As those programs have succeeded wildly (starting with \u003cem>House of Cards\u003c/em>) Netflix has gone all in on the original production front, to the point where it’s now carpet-bombing Netflix subscribers with several new offerings a week.\u003c/p>\n\u003cp>Meanwhile, other entertainment companies, such as CBS and Disney, are getting into the streaming business with their own services, and beginning to withhold their product from Netflix and other distributors.\u003c/p>\n\u003cp>That’s why original programs are so important to the future of Netflix, Amazon, Hulu and other such companies. It’s also why Netflix, most aggressively, is making new series deals with David Letterman and current ABC producer superstar \u003ca href=\"http://www.npr.org/2015/11/11/455594842/shonda-rhimes-on-running-three-hit-shows-and-the-limits-of-network-tv\">Shonda Rhimes\u003c/a> — and why it partnered with Marvel Comics so boldly, and with such long-range commitment, years ago.\u003c/p>\n\u003cp>Netflix’s plan with Marvel, from the start, was to take relatively minor or underused titles and heroes from the Marvel comic books, and star them in their own season-long TV series. Then, after that, to feature them together in \u003cem>The Defenders,\u003c/em> in an all-star superhero team-up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel used the same blueprint (with bigger heroes) in the movies, first launching Iron Man, Captain America and others, then showcasing them together as \u003cem>The Avengers.\u003c/em> And Marvel’s rivals at DC Comics did the same with Batman, Superman and, most recently, Wonder Woman, while planning a one-movie-fits-all \u003cem>Justice League\u003c/em> adventure film.\u003c/p>\n\u003cp>With Netflix, the plan was to take four different Marvel heroes and give them their own 13-episode shows. All of them ended up in the same Hell’s Kitchen turf in New York, but dramatically, not all these characters, or shows, were created equal. \u003cem>Jessica Jones\u003c/em> and \u003cem>Daredevil\u003c/em> were wonderful fantasy dramas about haunted heroes. Jessica had post-traumatic stress after being captured and manipulated by a mind-controlling villain. And Cox’s Matt Murdock, the lawyer by day, and costumed Daredevil by night, was blind, with his remaining senses exponentially enhanced after childhood exposure to radiation.\u003c/p>\n\u003cp>These two shows had strong supporting casts and terrific villains, played by such actors as David Tennant and Vincent D’Onofrio. But compared to them, \u003cem>Luke Cage\u003c/em> was minor-league, and\u003cem> Iron Fist\u003c/em> a total washout. Gathered together under one new title, if these Defenders were Marx Brothers, Iron Fist would be Zeppo.\u003c/p>\n\u003cp>But \u003cem>The Defenders\u003c/em> works, in part, precisely because the chemistry among characters doesn’t, and because it’s a group of loners who don’t even decide to join forces until four episodes in. And those were all the episodes provided for preview, so I’m not sure where \u003cem>The Defenders\u003c/em> is going.\u003c/p>\n\u003cp>But I know it starts well, by bringing back the strongest supporting characters and continuing plots from the previous Marvel Netflix shows, and by casting Sigourney Weaver as the new big, bad villain.\u003c/p>\n\u003cp>The real standouts in \u003cem>The Defenders\u003c/em> are the same actors and characters who excelled in their own series: Ritter as Jessica Jones and Cox as Daredevil. When they finally meet, the results are electric. And then there’s Élodie Yung’s Elektra, an important character in this new series — even though she died at the end of last season on \u003cem>Daredevil\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But figuring out who lives and dies is a tricky thing, in superhero stories and in the real-life battle for world TV domination. With \u003cem>The Defenders,\u003c/em> Netflix is making another very bold, very smart move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Defenders%2C%27+Netflix+Enlists+Marvel+Superheroes+In+Quest+For+TV+Domination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The villains in comic books usually have grandiose master plans, like targeting and defeating an enemy or ruling the world. Netflix, as it’s grown to become more and more of a major player in the modern TV universe, has grand plans of its own.\u003c/p>\n\u003cp>Netflix started out, and took root and blossomed, by providing easy access to many of the movies and TV shows made by others. Then it began making its own TV series and movies. As those programs have succeeded wildly (starting with \u003cem>House of Cards\u003c/em>) Netflix has gone all in on the original production front, to the point where it’s now carpet-bombing Netflix subscribers with several new offerings a week.\u003c/p>\n\u003cp>Meanwhile, other entertainment companies, such as CBS and Disney, are getting into the streaming business with their own services, and beginning to withhold their product from Netflix and other distributors.\u003c/p>\n\u003cp>That’s why original programs are so important to the future of Netflix, Amazon, Hulu and other such companies. It’s also why Netflix, most aggressively, is making new series deals with David Letterman and current ABC producer superstar \u003ca href=\"http://www.npr.org/2015/11/11/455594842/shonda-rhimes-on-running-three-hit-shows-and-the-limits-of-network-tv\">Shonda Rhimes\u003c/a> — and why it partnered with Marvel Comics so boldly, and with such long-range commitment, years ago.\u003c/p>\n\u003cp>Netflix’s plan with Marvel, from the start, was to take relatively minor or underused titles and heroes from the Marvel comic books, and star them in their own season-long TV series. Then, after that, to feature them together in \u003cem>The Defenders,\u003c/em> in an all-star superhero team-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel used the same blueprint (with bigger heroes) in the movies, first launching Iron Man, Captain America and others, then showcasing them together as \u003cem>The Avengers.\u003c/em> And Marvel’s rivals at DC Comics did the same with Batman, Superman and, most recently, Wonder Woman, while planning a one-movie-fits-all \u003cem>Justice League\u003c/em> adventure film.\u003c/p>\n\u003cp>With Netflix, the plan was to take four different Marvel heroes and give them their own 13-episode shows. All of them ended up in the same Hell’s Kitchen turf in New York, but dramatically, not all these characters, or shows, were created equal. \u003cem>Jessica Jones\u003c/em> and \u003cem>Daredevil\u003c/em> were wonderful fantasy dramas about haunted heroes. Jessica had post-traumatic stress after being captured and manipulated by a mind-controlling villain. And Cox’s Matt Murdock, the lawyer by day, and costumed Daredevil by night, was blind, with his remaining senses exponentially enhanced after childhood exposure to radiation.\u003c/p>\n\u003cp>These two shows had strong supporting casts and terrific villains, played by such actors as David Tennant and Vincent D’Onofrio. But compared to them, \u003cem>Luke Cage\u003c/em> was minor-league, and\u003cem> Iron Fist\u003c/em> a total washout. Gathered together under one new title, if these Defenders were Marx Brothers, Iron Fist would be Zeppo.\u003c/p>\n\u003cp>But \u003cem>The Defenders\u003c/em> works, in part, precisely because the chemistry among characters doesn’t, and because it’s a group of loners who don’t even decide to join forces until four episodes in. And those were all the episodes provided for preview, so I’m not sure where \u003cem>The Defenders\u003c/em> is going.\u003c/p>\n\u003cp>But I know it starts well, by bringing back the strongest supporting characters and continuing plots from the previous Marvel Netflix shows, and by casting Sigourney Weaver as the new big, bad villain.\u003c/p>\n\u003cp>The real standouts in \u003cem>The Defenders\u003c/em> are the same actors and characters who excelled in their own series: Ritter as Jessica Jones and Cox as Daredevil. When they finally meet, the results are electric. And then there’s Élodie Yung’s Elektra, an important character in this new series — even though she died at the end of last season on \u003cem>Daredevil\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But figuring out who lives and dies is a tricky thing, in superhero stories and in the real-life battle for world TV domination. With \u003cem>The Defenders,\u003c/em> Netflix is making another very bold, very smart move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Defenders%2C%27+Netflix+Enlists+Marvel+Superheroes+In+Quest+For+TV+Domination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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