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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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"title": "Pamela Adlon Started Working at Age 9, But 'Better Things' Happened at 50",
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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. 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>[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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"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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"content": "\u003cp>Netflix has lured Shonda Rhimes, the well-regarded creator of TV series \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>, from ABC — announcing its scoop just days after ABC owner Disney laid out plans to pull programming from Netflix.\u003c/p>\n\u003cp>Netflix said Rhimes’ Shondaland production company is moving to Netflix for a multi-year deal. New ideas and projects from Rhimes and her producing partner, Betsy Beers, will be available on the streaming service.\u003c/p>\n\u003cp>But her existing, well-known shows — \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>How to Get Away With Murder\u003c/em> — will remain on the network. Upcoming Shondaland projects already in the works, like the drama \u003cem>For the People\u003c/em> and a \u003cem>Grey’s\u003c/em> spinoff, will also still stay with ABC. Rhimes has had exclusive deals with ABC Studios for nearly 15 years.\u003c/p>\n\u003cp>ABC Entertainment president Channing Dungey said “fans can rest assured” that the network’s Thursday night lineup of Rhimes-produced shows “remains intact and will be as buzzed about as ever.” Rhimes’ shows have been among ABC’s top-rated series.\u003c/p>\n\u003cp>“I’m proud to have given a home to what have become some of the most celebrated and talked about shows on television,” Dungey said in an emailed statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Financial terms of the Netflix deal weren’t disclosed, nor were details on how long Rhimes and her company will produce series for Netflix.\u003c/p>\n\u003cp>The announcement late Sunday came just days after Disney said it was creating a new streaming service of its own for kids and launching an online-subscription version of ESPN.\u003c/p>\n\u003cp>Disney said it will pull Disney and Pixar movies and shows from Netflix for the new service aimed at kids, expected to launch in 2019. ABC shows won’t be included, but Disney has hinted that it could shift more content to this new model. Disney is also launching an ESPN streaming service, without pro football and basketball, early next year. It has said it might also sell the full ESPN channel directly to viewers online if viewership disintegrates; currently, a cable or satellite subscription is required.\u003c/p>\n\u003cp>Disney is setting itself up for the future as ratings for traditional TV have suffered. Competition for viewers is increasing and attention is shifting online, where video can be watched on a viewer’s schedule — an option Netflix has taught viewers to love.\u003c/p>\n\u003cp>ABC ended the traditional TV season in May at the No. 3 slot among the big broadcasters and down 9 percent in the ratings, according to Nielsen. It’s rebooting \u003cem>Roseanne\u003c/em> and \u003cem>American Idol\u003c/em> in the 2017-18 season and bringing back popular comedies \u003cem>black-ish\u003c/em> and \u003cem>Modern Family\u003c/em>.\u003c/p>\n\u003cp>Netflix continues to invest in more original programming to win those eyeballs. It’s not competing with just cable anymore. Traditional TV companies have launched or are planning a slew of streaming services , and tech companies like Amazon and Google’s YouTube have as well. In the past few weeks, Netflix has signed up David Letterman and bought a comic book publisher to turn its characters into movies and shows.\u003c/p>\n\u003cp>Rhimes wrote in a statement that she was grateful to ABC for giving her career a start, but she was looking forward to expanding her audience and “creative identity” with Netflix. “Starting today, we are thrilled to begin creating new Shondaland stories with Netflix,” she wrote.\u003c/p>\n\u003cp>She said that she and Netflix Chief Content Officer Ted Sarandos had developed a plan for the next phase of Rhimes’ career. She said Netflix offered her and her team “limitless possibilities.”\u003c/p>\n\u003cp>“I’ve gotten the chance to know Shonda and she’s a true Netflixer at heart — she loves TV and films, she cares passionately about her work, and she delivers for her audience,” Sarandos wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rhimes, 47, has been nominated for three Emmy Awards, all for her work on \u003cem>Grey’s Anatomy\u003c/em>. The long-running series begins its 14th season next month. \u003cem>Scandal\u003c/em> will return for its seventh and final season in October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix has lured Shonda Rhimes, the well-regarded creator of TV series \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>, from ABC — announcing its scoop just days after ABC owner Disney laid out plans to pull programming from Netflix.\u003c/p>\n\u003cp>Netflix said Rhimes’ Shondaland production company is moving to Netflix for a multi-year deal. New ideas and projects from Rhimes and her producing partner, Betsy Beers, will be available on the streaming service.\u003c/p>\n\u003cp>But her existing, well-known shows — \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>How to Get Away With Murder\u003c/em> — will remain on the network. Upcoming Shondaland projects already in the works, like the drama \u003cem>For the People\u003c/em> and a \u003cem>Grey’s\u003c/em> spinoff, will also still stay with ABC. Rhimes has had exclusive deals with ABC Studios for nearly 15 years.\u003c/p>\n\u003cp>ABC Entertainment president Channing Dungey said “fans can rest assured” that the network’s Thursday night lineup of Rhimes-produced shows “remains intact and will be as buzzed about as ever.” Rhimes’ shows have been among ABC’s top-rated series.\u003c/p>\n\u003cp>“I’m proud to have given a home to what have become some of the most celebrated and talked about shows on television,” Dungey said in an emailed statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Financial terms of the Netflix deal weren’t disclosed, nor were details on how long Rhimes and her company will produce series for Netflix.\u003c/p>\n\u003cp>The announcement late Sunday came just days after Disney said it was creating a new streaming service of its own for kids and launching an online-subscription version of ESPN.\u003c/p>\n\u003cp>Disney said it will pull Disney and Pixar movies and shows from Netflix for the new service aimed at kids, expected to launch in 2019. ABC shows won’t be included, but Disney has hinted that it could shift more content to this new model. Disney is also launching an ESPN streaming service, without pro football and basketball, early next year. It has said it might also sell the full ESPN channel directly to viewers online if viewership disintegrates; currently, a cable or satellite subscription is required.\u003c/p>\n\u003cp>Disney is setting itself up for the future as ratings for traditional TV have suffered. Competition for viewers is increasing and attention is shifting online, where video can be watched on a viewer’s schedule — an option Netflix has taught viewers to love.\u003c/p>\n\u003cp>ABC ended the traditional TV season in May at the No. 3 slot among the big broadcasters and down 9 percent in the ratings, according to Nielsen. It’s rebooting \u003cem>Roseanne\u003c/em> and \u003cem>American Idol\u003c/em> in the 2017-18 season and bringing back popular comedies \u003cem>black-ish\u003c/em> and \u003cem>Modern Family\u003c/em>.\u003c/p>\n\u003cp>Netflix continues to invest in more original programming to win those eyeballs. It’s not competing with just cable anymore. Traditional TV companies have launched or are planning a slew of streaming services , and tech companies like Amazon and Google’s YouTube have as well. In the past few weeks, Netflix has signed up David Letterman and bought a comic book publisher to turn its characters into movies and shows.\u003c/p>\n\u003cp>Rhimes wrote in a statement that she was grateful to ABC for giving her career a start, but she was looking forward to expanding her audience and “creative identity” with Netflix. “Starting today, we are thrilled to begin creating new Shondaland stories with Netflix,” she wrote.\u003c/p>\n\u003cp>She said that she and Netflix Chief Content Officer Ted Sarandos had developed a plan for the next phase of Rhimes’ career. She said Netflix offered her and her team “limitless possibilities.”\u003c/p>\n\u003cp>“I’ve gotten the chance to know Shonda and she’s a true Netflixer at heart — she loves TV and films, she cares passionately about her work, and she delivers for her audience,” Sarandos wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rhimes, 47, has been nominated for three Emmy Awards, all for her work on \u003cem>Grey’s Anatomy\u003c/em>. The long-running series begins its 14th season next month. \u003cem>Scandal\u003c/em> will return for its seventh and final season in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Facebook began rolling out a new video service Thursday called \u003ca href=\"https://newsroom.fb.com/news/2017/08/introducing-watch-a-new-platform-for-shows-on-facebook/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook Watch\u003c/a>. It’s a calculated attempt to expand the amount of eyeball time we give the world’s dominant social media platform.\u003c/p>\n\u003cp>The idea is to get you watching and subscribing to high-quality feeds of everything from live videos of your favorite celebrities, to episodic television like National Geographic’s “\u003ca href=\"http://www.nationalgeographic.com/video/safari-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Safari Live\u003c/a>,” to \u003ca href=\"https://www.mlb.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Major League Baseball\u003c/a>. Of course, your engagement becomes yet another thing your friends see in their Facebook feeds.\u003c/p>\n\u003cp>Ian Scherr, executive editor at the online tech news outlet \u003ca href=\"https://www.cnet.com/news/\" target=\"_blank\" rel=\"noopener noreferrer\">CNET News\u003c/a>, says Facebook wants ever more advertising revenue. “There’s definitely a correlation between the amount of time I’m watching and the amount of time I’m spending on Facebook. The real question is whether it’s going to be good enough to draw my attention away from all the big ones,” Scherr says.\u003c/p>\n\u003cp>By that, Scherr means \u003ca href=\"https://www.youtube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, \u003ca href=\"http://www.hbo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO \u003c/a>and \u003ca href=\"http://www.espn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ESPN\u003c/a>: you know, the only things that would cause you to peel away from your Facebook feed now. With the launch of Facebook Watch, the tech giant is moving into broadcasting in a big way.\u003c/p>\n\u003cp>Facebook Watch has already lined up established producers to develop original video content. These partners will earn 55 percent of ad break revenue; Facebook will keep the rest. The “Watch” tab and several dozen original shows will pop up for a small subset of U.S. users, rolling out more widely as time goes on.\u003c/p>\n\u003cfigure id=\"attachment_13805071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg\" alt=\"Even though this looks more like television, Facebook watchers say this medium still favors short lengths.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even though this looks more like television, Facebook watchers say this medium still favors short lengths. \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is all about making the Facebook experience stickier than it is already for its two billion-plus users now. That said, Scherr warns, “It’s not a guaranteed success. Especially at this time, when the quality of TV is so high. You have to prove yourself. Tech companies are not experts at media, and so the question is can you find the right people to run this program for you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Facebook says it plans to roll out access to Watch to more users and more content creators soon, starting with the rest of the U.S. before expanding internationally. Users with access will see a TV-shaped Watch button in the bottom navigation bar of Facebook’s main app that opens the new video hub.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Facebook began rolling out a new video service Thursday called \u003ca href=\"https://newsroom.fb.com/news/2017/08/introducing-watch-a-new-platform-for-shows-on-facebook/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook Watch\u003c/a>. It’s a calculated attempt to expand the amount of eyeball time we give the world’s dominant social media platform.\u003c/p>\n\u003cp>The idea is to get you watching and subscribing to high-quality feeds of everything from live videos of your favorite celebrities, to episodic television like National Geographic’s “\u003ca href=\"http://www.nationalgeographic.com/video/safari-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Safari Live\u003c/a>,” to \u003ca href=\"https://www.mlb.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Major League Baseball\u003c/a>. Of course, your engagement becomes yet another thing your friends see in their Facebook feeds.\u003c/p>\n\u003cp>Ian Scherr, executive editor at the online tech news outlet \u003ca href=\"https://www.cnet.com/news/\" target=\"_blank\" rel=\"noopener noreferrer\">CNET News\u003c/a>, says Facebook wants ever more advertising revenue. “There’s definitely a correlation between the amount of time I’m watching and the amount of time I’m spending on Facebook. The real question is whether it’s going to be good enough to draw my attention away from all the big ones,” Scherr says.\u003c/p>\n\u003cp>By that, Scherr means \u003ca href=\"https://www.youtube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, \u003ca href=\"http://www.hbo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO \u003c/a>and \u003ca href=\"http://www.espn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ESPN\u003c/a>: you know, the only things that would cause you to peel away from your Facebook feed now. With the launch of Facebook Watch, the tech giant is moving into broadcasting in a big way.\u003c/p>\n\u003cp>Facebook Watch has already lined up established producers to develop original video content. These partners will earn 55 percent of ad break revenue; Facebook will keep the rest. The “Watch” tab and several dozen original shows will pop up for a small subset of U.S. users, rolling out more widely as time goes on.\u003c/p>\n\u003cfigure id=\"attachment_13805071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg\" alt=\"Even though this looks more like television, Facebook watchers say this medium still favors short lengths.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even though this looks more like television, Facebook watchers say this medium still favors short lengths. \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is all about making the Facebook experience stickier than it is already for its two billion-plus users now. That said, Scherr warns, “It’s not a guaranteed success. Especially at this time, when the quality of TV is so high. You have to prove yourself. Tech companies are not experts at media, and so the question is can you find the right people to run this program for you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \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=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \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=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "a-cartoons-black-star-prompts-a-fight-what-did-roman-britain-look-like",
"title": "A Cartoon's Black Star Prompts A Fight: What Did Roman Britain Look Like?",
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"content": "\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \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=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \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=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Madcap 'Sit-Com' from Peter Pan's Creator Finally Sees the Light of Day",
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"content": "\u003cp>It has been 80 years since J.M. Barrie died. It has been even longer since Peter Pan’s creator penned \u003cem>The Reconstruction of the Crime\u003c/em> with humorist E.V. Lucas — and yet in all this time, editor Andrew Gulli says the brief play the pair pulled together never glimpsed the stage or even the printed page.\u003c/p>\n\u003cp>That changes this week, as Gulli’s \u003ca href=\"https://strandmag.com/product/strand-magazine-headlines-an-unpublished-j-m-barrie-play-plus-ruth-ware-jo-nesbo-and-charles-todd/\" target=\"_blank\" rel=\"noopener\">The Strand Magazine\u003c/a> has finally published the typescript of the bedroom farce \u003ca href=\"http://www.lib.utexas.edu/taro/uthrc/01088/hrc-01088.html\" target=\"_blank\" rel=\"noopener\">long squirreled away\u003c/a> at the University of Texas’ \u003ca href=\"http://www.hrc.utexas.edu/\" target=\"_blank\" rel=\"noopener\">Harry Ransom Center\u003c/a>.\u003c/p>\n\u003cp>“It could be a short episode in a sit-com,” Gulli tells NPR. “The husband is sick, and he’s asking his wife to get a home remedy for him. The rooms get mixed up, and she ends up going to the room of the wrong person. And the wrong person gets very startled and feels that an attempt has been made upon his life.”\u003c/p>\n\u003cp>In fact, the setup reminds him of another pop culture icon, one you might not readily associate with Peter Pan: \u003cem>Frasier\u003c/em>, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1876357\" target=\"_blank\" rel=\"noopener\">that mainstay of primetime TV comedy\u003c/a>. “It’s just a madcap, good-natured plot.”\u003c/p>\n\u003cp>But — like the 1904 play that introduced Peter Pan, who famously asked the audience to save Tinker Bell by clapping — Barrie’s undated collaboration with Lucas invokes their viewers directly. Only this time, the Scottish playwright asks them to keep quiet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Please don’t applaud,” a character known only as The Victim tells the crowd at the outset, \u003ca href=\"https://www.washingtonpost.com/national/lost-then-found-rare-jm-barrie-play-published-this-week/2017/07/28/b5dd10d4-734e-11e7-8c17-533c52b2f014_story.html?utm_term=.5e6f80da1286\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “Of course I like it; we all like it. But not just now. This is much too serious. The fact is I want to take you into my confidence: to ask your assistance. A horrible crime has been committed. An outrage almost beyond description has been perpetrated upon an inoffensive gentleman staying in a country hotel, and the guilty person has to be found.”\u003c/p>\n\u003cp>But before the play could be published, Gulli says he had to unravel a mystery of mistaken identity in his own right.\u003c/p>\n\u003cp>The magazine had originally slated it to publish in February — but just days before they went to press, he got a phone call from his copy editor telling him another Barrie play, with a very similar name, had been broadcast about a century ago. And it was living at the \u003ca href=\"http://beinecke.library.yale.edu/\" target=\"_blank\" rel=\"noopener\">Beinecke Library at Yale\u003c/a>.\u003c/p>\n\u003cp>\u003cem>That\u003c/em> play’s name? \u003cem>Reconstructing the Crime\u003c/em> — which, you’ll note, sounds a whole lot like \u003cem>The Reconstruction of the Crime\u003c/em>, the play publishing this week. “You’re not going to blame me for thinking, ‘Oh my goodness,’ ” Gulli says.\u003c/p>\n\u003cp>“So at that point, we had to remove [\u003cem>The Reconstruction of the Crime\u003c/em>] from the magazine and tell the illustrator, ‘I’m sorry for all your work on this, but nothing’s going to come of it.’ ”\u003c/p>\n\u003cp>It was only after that February issue published — sans Barrie — that Gulli got his hands on the play they’d stumbled on at Beinecke, which he says Barrie had written alone for charity during World War I. And, remarkably similar titles notwithstanding, Gulli was surprised to find the two plays had just about nothing in common.\u003c/p>\n\u003cp>And so, \u003cem>The Reconstruction of the Crime\u003c/em> lived again.\u003c/p>\n\u003cp>Ultimately, he tells NPR this clever comedy for adults should help lend further context to a career that had far more to it than just Barrie’s classic children’s book character.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The thing about Barrie is we look at him and say, ‘Oh, he was a children’s book author or children’s playwright’ — but he wrote a lot of works that revolved around social justice and works that were dark,” Gulli says. “This is not a guy who’s primarily interested not only in children’s books as much as tackling a lot of social issues.” \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=Madcap+%27Sit-Com%27+From+Peter+Pan%27s+Creator+Finally+Sees+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been 80 years since J.M. Barrie died. It has been even longer since Peter Pan’s creator penned \u003cem>The Reconstruction of the Crime\u003c/em> with humorist E.V. Lucas — and yet in all this time, editor Andrew Gulli says the brief play the pair pulled together never glimpsed the stage or even the printed page.\u003c/p>\n\u003cp>That changes this week, as Gulli’s \u003ca href=\"https://strandmag.com/product/strand-magazine-headlines-an-unpublished-j-m-barrie-play-plus-ruth-ware-jo-nesbo-and-charles-todd/\" target=\"_blank\" rel=\"noopener\">The Strand Magazine\u003c/a> has finally published the typescript of the bedroom farce \u003ca href=\"http://www.lib.utexas.edu/taro/uthrc/01088/hrc-01088.html\" target=\"_blank\" rel=\"noopener\">long squirreled away\u003c/a> at the University of Texas’ \u003ca href=\"http://www.hrc.utexas.edu/\" target=\"_blank\" rel=\"noopener\">Harry Ransom Center\u003c/a>.\u003c/p>\n\u003cp>“It could be a short episode in a sit-com,” Gulli tells NPR. “The husband is sick, and he’s asking his wife to get a home remedy for him. The rooms get mixed up, and she ends up going to the room of the wrong person. And the wrong person gets very startled and feels that an attempt has been made upon his life.”\u003c/p>\n\u003cp>In fact, the setup reminds him of another pop culture icon, one you might not readily associate with Peter Pan: \u003cem>Frasier\u003c/em>, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1876357\" target=\"_blank\" rel=\"noopener\">that mainstay of primetime TV comedy\u003c/a>. “It’s just a madcap, good-natured plot.”\u003c/p>\n\u003cp>But — like the 1904 play that introduced Peter Pan, who famously asked the audience to save Tinker Bell by clapping — Barrie’s undated collaboration with Lucas invokes their viewers directly. Only this time, the Scottish playwright asks them to keep quiet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Please don’t applaud,” a character known only as The Victim tells the crowd at the outset, \u003ca href=\"https://www.washingtonpost.com/national/lost-then-found-rare-jm-barrie-play-published-this-week/2017/07/28/b5dd10d4-734e-11e7-8c17-533c52b2f014_story.html?utm_term=.5e6f80da1286\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “Of course I like it; we all like it. But not just now. This is much too serious. The fact is I want to take you into my confidence: to ask your assistance. A horrible crime has been committed. An outrage almost beyond description has been perpetrated upon an inoffensive gentleman staying in a country hotel, and the guilty person has to be found.”\u003c/p>\n\u003cp>But before the play could be published, Gulli says he had to unravel a mystery of mistaken identity in his own right.\u003c/p>\n\u003cp>The magazine had originally slated it to publish in February — but just days before they went to press, he got a phone call from his copy editor telling him another Barrie play, with a very similar name, had been broadcast about a century ago. And it was living at the \u003ca href=\"http://beinecke.library.yale.edu/\" target=\"_blank\" rel=\"noopener\">Beinecke Library at Yale\u003c/a>.\u003c/p>\n\u003cp>\u003cem>That\u003c/em> play’s name? \u003cem>Reconstructing the Crime\u003c/em> — which, you’ll note, sounds a whole lot like \u003cem>The Reconstruction of the Crime\u003c/em>, the play publishing this week. “You’re not going to blame me for thinking, ‘Oh my goodness,’ ” Gulli says.\u003c/p>\n\u003cp>“So at that point, we had to remove [\u003cem>The Reconstruction of the Crime\u003c/em>] from the magazine and tell the illustrator, ‘I’m sorry for all your work on this, but nothing’s going to come of it.’ ”\u003c/p>\n\u003cp>It was only after that February issue published — sans Barrie — that Gulli got his hands on the play they’d stumbled on at Beinecke, which he says Barrie had written alone for charity during World War I. And, remarkably similar titles notwithstanding, Gulli was surprised to find the two plays had just about nothing in common.\u003c/p>\n\u003cp>And so, \u003cem>The Reconstruction of the Crime\u003c/em> lived again.\u003c/p>\n\u003cp>Ultimately, he tells NPR this clever comedy for adults should help lend further context to a career that had far more to it than just Barrie’s classic children’s book character.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The thing about Barrie is we look at him and say, ‘Oh, he was a children’s book author or children’s playwright’ — but he wrote a lot of works that revolved around social justice and works that were dark,” Gulli says. “This is not a guy who’s primarily interested not only in children’s books as much as tackling a lot of social issues.” \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=Madcap+%27Sit-Com%27+From+Peter+Pan%27s+Creator+Finally+Sees+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Next 'Game of Thrones' Could Be Set In Post-Apocalyptic Africa",
"title": "The Next 'Game of Thrones' Could Be Set In Post-Apocalyptic Africa",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The next \u003cem>Game of Thrones\u003c/em> could be a sci-fi epic set in Africa.\u003c/p>\n\u003cp>On Monday, Nigerian-American author Nnedi Okorafor posted an announcement on her Facebook page:\u003c/p>\n\u003cblockquote>\u003cp>\"I'm finally free to announce this: My World Fantasy Award winning novel WHO FEARS DEATH has been optioned by HBO and is now in early development as a TV series with George R. R. Martin as executive producer. Note: This did not happen overnight. It's been nearly 4 years coming.\"\u003c/p>\u003c/blockquote>\n\u003cp>Martin is, of course, the author of the novels that became the HBO smash hit \u003cem>Game of Thrones\u003c/em> and also serves as a co-executive producer of the series.\u003c/p>\n\u003cp>The news is a major win not just for Okorafor but for African fiction and representation of African issues on television. To understand why, it's important to understand the themes Okorafor explores in her work.\u003c/p>\n\u003cp>Getting to know the author is the first step in understanding her work. Born in America and the daughter of Nigerian immigrants, \u003ca href=\"http://nnedi.com/\">Nnedi Okorafor\u003c/a> grew up in Illinois. She was a star tennis player until she was diagnosed with scoliosis. It was during her recovery from surgery that Okorafor turned to writing. Her first published novels were young adult books set in West Africa, mainly in Nigeria. \u003cem>Who Fears Death \u003c/em>is her first adult novel.\u003c/p>\n\u003cfigure id=\"attachment_93822\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-93822 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-768x1025.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1020x1361.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1180x1574.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-960x1281.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-520x694.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0.jpg 1874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nnedi Okorafor is the author of the sci-fi novel Who Fears Death, which has been optioned by HBO.\u003cbr> Jim Hines/Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>A professor of English at the University at Buffalo, The State University of New York, Okorafor has written several other books, including the Hugo and Nebula award-winning \u003ca href=\"https://www.amazon.com/Binti-Nnedi-Okorafor/dp/0765385252/ref=sr_1_2?s=books&ie=UTF8&qid=1500667627&sr=1-2&keywords=binti+nnedi\">Binti\u003c/a>. Her main characters are usually young black African women who want to shape their own destiny but first must overcome present circumstances (going against their parents' wishes, leaving abusive relationships or coming to terms with being an unwanted outsider in a community). She contributed a short story to \u003ca href=\"http://www.starwars.com/news/star-wars-from-a-certain-point-of-view-anthology-book-celebrates-40-years-of-a-galaxy-far-far-away\">Star Wars: From A Certain Point Of View\u003c/a>, an anthology set in the Star Wars universe, due for release in October and was part of a panel discussion on Wonder Woman's \"Sister Protagonists\" at this year's San Diego Comic-Con.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What makes \u003ca href=\"https://www.amazon.com/Fears-Okorafor-18-Mar-2014-Market-Paperback/dp/B011T7CQCC/ref=pd_lpo_sbs_14_t_0?_encoding=UTF8&psc=1&refRID=9D01QZQCC2NNJPMB51P5\">Who Fears Death\u003c/a> the right fit for television? Like \u003cem>Game of Thrones\u003c/em>, it is a great blend of fantasy, magic and suspense. First published in 2010, the 304-page book is a perfect example of the way African science fiction critiques real-life, modern-day Africa. The book is set in a post-apocalyptic Sudan plagued by civil war. The light-skinned Nuru tribe enslaves and wants to exterminate the Okere tribe. Whole villages are burnt and plundered; the dark-skinned Okere women are raped by the Nuru. The novel's protagonist, Onyesonwu, was born from such a rape. Onyesonwu has magical powers, making her a threat to the Nuru and especially to her sorcerer father, Daib. Ultimately, she must overcome her fears and defeat him. In fact, the meaning of Onyesonwu's name is \"who fears death,\" given to her by her mother, in an African language invented for the book.\u003c/p>\n\u003cp>While the book has the same fantastical elements that make \u003cem>Game of Thrones\u003c/em> so popular, it is grounded in current African affairs. The cycle of armed conflict between tribes in Africa is not an invention of science fiction. Okorafor wrote that she gained inspiration for the plot from a \u003cem>Washington Post\u003c/em> article about the children born from sexual violence in Congo and Sudan during their civil wars. Their existence serves as proof of a heinous crime that no one talks about.\u003c/p>\n\u003cp>As Okorafor writes in the book:\u003c/p>\n\u003cblockquote>\u003cp>\"To be something abnormal meant that you were to serve the normal. And if you refused, they hated you ... and often the normal hated you even when you did serve them.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_93821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-93821\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-768x1153.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1020x1532.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1180x1772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-960x1442.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-520x781.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>The practice of female genital mutilation is part of the story. Onyesonwu undergoes FGM and her powers are severely impaired. Steven Barnes, an African-American science fiction writer, criticized this element in the book. In a review for \u003cem>American Book Review, \u003c/em>he said Okorafor made traditional African culture look bad and should have used her book to celebrate the good aspects of the culture. Okorafor responded:\u003c/p>\n\u003cblockquote>\u003cp>\"Culture is alive and it is fluid. It is not made of stone nor is it absolute. Just because I believe that aspects of my culture are problematic does not mean I am 'betraying' my people by pointing out those problems.\"\u003c/p>\u003c/blockquote>\n\u003cp>Okorafor is confident that the TV adaptation of her book, if it happens, will remain true to her vision. In a post on her Facebook page, she explains why having Martin as a producer is a bonus:\u003c/p>\n\u003cblockquote>\u003cp>\"I think I need to say this because I see a lot of people saying weird things: They didn't just choose George R.R. Martin strictly because he's a big name and he's already with HBO and he didn't just agree to executive produce because of all these bs reasons people are making up.\u003c/p>\n\u003cp>I've known George for over three years now. Since BEFORE all this with. He's been a sort of mentor to me since the day I [met] him. We've had long phone conversations about writing, Hollywood, teaching, academia, juggling it all. If I had questions, I could just call him up and ask and I have. We are well met. This isn't just a project throwing my book into George's hands just because. He-knows-me.\u003c/p>\n\u003cp>And note: George is a really cool and wonderful person.\"\u003c/p>\u003c/blockquote>\n\u003cp>The edginess to her writing is also apparent in her social media. When a tweet showed the book jacket without her name, Okorafor was quick to let everyone know that while Martin was helping bring \u003cem>Who Fears Death\u003c/em> to television, no one should forget the writer behind the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mako Muzenda is a freelance journalist and blogger. She's from Zimbabwe and is now studying in South Africa at Rhodes University. Reach her\u003c/em>\u003cem> \u003ca href=\"https://twitter.com/mgmuzenda\">@MGMuzenda\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Next+%27Game+of+Thrones%27+Could+Be+Set+In+Post-Apocalyptic+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The next \u003cem>Game of Thrones\u003c/em> could be a sci-fi epic set in Africa.\u003c/p>\n\u003cp>On Monday, Nigerian-American author Nnedi Okorafor posted an announcement on her Facebook page:\u003c/p>\n\u003cblockquote>\u003cp>\"I'm finally free to announce this: My World Fantasy Award winning novel WHO FEARS DEATH has been optioned by HBO and is now in early development as a TV series with George R. R. Martin as executive producer. Note: This did not happen overnight. It's been nearly 4 years coming.\"\u003c/p>\u003c/blockquote>\n\u003cp>Martin is, of course, the author of the novels that became the HBO smash hit \u003cem>Game of Thrones\u003c/em> and also serves as a co-executive producer of the series.\u003c/p>\n\u003cp>The news is a major win not just for Okorafor but for African fiction and representation of African issues on television. To understand why, it's important to understand the themes Okorafor explores in her work.\u003c/p>\n\u003cp>Getting to know the author is the first step in understanding her work. Born in America and the daughter of Nigerian immigrants, \u003ca href=\"http://nnedi.com/\">Nnedi Okorafor\u003c/a> grew up in Illinois. She was a star tennis player until she was diagnosed with scoliosis. It was during her recovery from surgery that Okorafor turned to writing. Her first published novels were young adult books set in West Africa, mainly in Nigeria. \u003cem>Who Fears Death \u003c/em>is her first adult novel.\u003c/p>\n\u003cfigure id=\"attachment_93822\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-93822 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-768x1025.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1020x1361.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-1180x1574.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-960x1281.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0-520x694.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/14517382789_3cf6b76f40_o_vert-ec94021a0078ca2c972d4f9a17a0a0e4ebf079e0.jpg 1874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nnedi Okorafor is the author of the sci-fi novel Who Fears Death, which has been optioned by HBO.\u003cbr> Jim Hines/Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>A professor of English at the University at Buffalo, The State University of New York, Okorafor has written several other books, including the Hugo and Nebula award-winning \u003ca href=\"https://www.amazon.com/Binti-Nnedi-Okorafor/dp/0765385252/ref=sr_1_2?s=books&ie=UTF8&qid=1500667627&sr=1-2&keywords=binti+nnedi\">Binti\u003c/a>. Her main characters are usually young black African women who want to shape their own destiny but first must overcome present circumstances (going against their parents' wishes, leaving abusive relationships or coming to terms with being an unwanted outsider in a community). She contributed a short story to \u003ca href=\"http://www.starwars.com/news/star-wars-from-a-certain-point-of-view-anthology-book-celebrates-40-years-of-a-galaxy-far-far-away\">Star Wars: From A Certain Point Of View\u003c/a>, an anthology set in the Star Wars universe, due for release in October and was part of a panel discussion on Wonder Woman's \"Sister Protagonists\" at this year's San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What makes \u003ca href=\"https://www.amazon.com/Fears-Okorafor-18-Mar-2014-Market-Paperback/dp/B011T7CQCC/ref=pd_lpo_sbs_14_t_0?_encoding=UTF8&psc=1&refRID=9D01QZQCC2NNJPMB51P5\">Who Fears Death\u003c/a> the right fit for television? Like \u003cem>Game of Thrones\u003c/em>, it is a great blend of fantasy, magic and suspense. First published in 2010, the 304-page book is a perfect example of the way African science fiction critiques real-life, modern-day Africa. The book is set in a post-apocalyptic Sudan plagued by civil war. The light-skinned Nuru tribe enslaves and wants to exterminate the Okere tribe. Whole villages are burnt and plundered; the dark-skinned Okere women are raped by the Nuru. The novel's protagonist, Onyesonwu, was born from such a rape. Onyesonwu has magical powers, making her a threat to the Nuru and especially to her sorcerer father, Daib. Ultimately, she must overcome her fears and defeat him. In fact, the meaning of Onyesonwu's name is \"who fears death,\" given to her by her mother, in an African language invented for the book.\u003c/p>\n\u003cp>While the book has the same fantastical elements that make \u003cem>Game of Thrones\u003c/em> so popular, it is grounded in current African affairs. The cycle of armed conflict between tribes in Africa is not an invention of science fiction. Okorafor wrote that she gained inspiration for the plot from a \u003cem>Washington Post\u003c/em> article about the children born from sexual violence in Congo and Sudan during their civil wars. Their existence serves as proof of a heinous crime that no one talks about.\u003c/p>\n\u003cp>As Okorafor writes in the book:\u003c/p>\n\u003cblockquote>\u003cp>\"To be something abnormal meant that you were to serve the normal. And if you refused, they hated you ... and often the normal hated you even when you did serve them.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_93821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-93821\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg\" alt=\"\" width=\"800\" height=\"1201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-768x1153.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1020x1532.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-1180x1772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-960x1442.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3-520x781.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/9780756407285_custom-7db5d141e15876388b9753aa2f0e9898c51f7da3.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>The practice of female genital mutilation is part of the story. Onyesonwu undergoes FGM and her powers are severely impaired. Steven Barnes, an African-American science fiction writer, criticized this element in the book. In a review for \u003cem>American Book Review, \u003c/em>he said Okorafor made traditional African culture look bad and should have used her book to celebrate the good aspects of the culture. Okorafor responded:\u003c/p>\n\u003cblockquote>\u003cp>\"Culture is alive and it is fluid. It is not made of stone nor is it absolute. Just because I believe that aspects of my culture are problematic does not mean I am 'betraying' my people by pointing out those problems.\"\u003c/p>\u003c/blockquote>\n\u003cp>Okorafor is confident that the TV adaptation of her book, if it happens, will remain true to her vision. In a post on her Facebook page, she explains why having Martin as a producer is a bonus:\u003c/p>\n\u003cblockquote>\u003cp>\"I think I need to say this because I see a lot of people saying weird things: They didn't just choose George R.R. Martin strictly because he's a big name and he's already with HBO and he didn't just agree to executive produce because of all these bs reasons people are making up.\u003c/p>\n\u003cp>I've known George for over three years now. Since BEFORE all this with. He's been a sort of mentor to me since the day I [met] him. We've had long phone conversations about writing, Hollywood, teaching, academia, juggling it all. If I had questions, I could just call him up and ask and I have. We are well met. This isn't just a project throwing my book into George's hands just because. He-knows-me.\u003c/p>\n\u003cp>And note: George is a really cool and wonderful person.\"\u003c/p>\u003c/blockquote>\n\u003cp>The edginess to her writing is also apparent in her social media. When a tweet showed the book jacket without her name, Okorafor was quick to let everyone know that while Martin was helping bring \u003cem>Who Fears Death\u003c/em> to television, no one should forget the writer behind the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mako Muzenda is a freelance journalist and blogger. She's from Zimbabwe and is now studying in South Africa at Rhodes University. Reach her\u003c/em>\u003cem> \u003ca href=\"https://twitter.com/mgmuzenda\">@MGMuzenda\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Next+%27Game+of+Thrones%27+Could+Be+Set+In+Post-Apocalyptic+Africa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Hawaii Five-0' Casting Announcement Doesn't Fix CBS's Larger Diversity Problem",
"headTitle": "‘Hawaii Five-0’ Casting Announcement Doesn’t Fix CBS’s Larger Diversity Problem | KQED",
"content": "\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one’s surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show’s most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show’s white co-stars, Alex O’Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that’s kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the “racial wage gap” on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on “racism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it’s not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show’s formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>“I don’t understand why we’re dealing with this issue now,” says Brenda Ching, executive director of the Hawaii chapter of the performers’ union SAG-AFTRA. “Obviously, the success of the show has been phenomenal, and everybody’s role has built the show. … Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.”\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show’s life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O’Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim’s and Park’s departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors “chose not to extend their contracts” after “getting unprecedented raises” in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they “tried very hard to keep them with offers for large and significant salary increases.” \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O’Loughlin make about $200,000 per episode, plus a small share of the show’s back-end profits; Kim was offered a salary about $5,000 short of the show’s leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, “As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,” later adding, “The path to equality is rarely easy.”\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\n\u003cp>“I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave … I support [Kim] and [Park] in their decision to stand up for what they believe is right.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s true that it isn’t unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I’ve used \u003cem>Hawaii Five-0\u003c/em> star O’Loughlin’s career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O’Loughlin ‘s first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season.\u003cstrong> \u003c/strong>CBS clearly wanted to be in the O’Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it’s tough to understand why it was so hard for CBS and the show’s producers to pay them as O’Loughlin’s equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn’t announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on. \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=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one’s surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show’s most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show’s white co-stars, Alex O’Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that’s kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the “racial wage gap” on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on “racism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it’s not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show’s formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>“I don’t understand why we’re dealing with this issue now,” says Brenda Ching, executive director of the Hawaii chapter of the performers’ union SAG-AFTRA. “Obviously, the success of the show has been phenomenal, and everybody’s role has built the show. … Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.”\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show’s life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O’Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim’s and Park’s departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors “chose not to extend their contracts” after “getting unprecedented raises” in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they “tried very hard to keep them with offers for large and significant salary increases.” \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O’Loughlin make about $200,000 per episode, plus a small share of the show’s back-end profits; Kim was offered a salary about $5,000 short of the show’s leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, “As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,” later adding, “The path to equality is rarely easy.”\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\n\u003cp>“I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave … I support [Kim] and [Park] in their decision to stand up for what they believe is right.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s true that it isn’t unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I’ve used \u003cem>Hawaii Five-0\u003c/em> star O’Loughlin’s career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O’Loughlin ‘s first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season.\u003cstrong> \u003c/strong>CBS clearly wanted to be in the O’Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it’s tough to understand why it was so hard for CBS and the show’s producers to pay them as O’Loughlin’s equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn’t announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on. \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=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jake Paul's Neighbors Could Try to Declare Him a Public Nuisance",
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"content": "\u003cp>“It’s terrible, it’s a bad situation” — and that’s how the creator of the situation, YouTube star Jake Paul, describes what his neighbors in West Hollywood are going through because of his rowdy lifestyle and made-for-video antics.\u003c/p>\n\u003cp>Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements — and they could file a class-action lawsuit that seeks to declare Paul a public nuisance, \u003ca href=\"http://ktla.com/2017/07/17/in-west-hollywood-social-media-star-jake-pauls-antics-stir-up-the-neighborhood/\" target=\"_blank\" rel=\"noopener\">local TV station KTLA 5\u003c/a> reports.\u003c/p>\n\u003cp>“I feel bad for them, for sure,” Paul, 20, said of his neighbors when KTLA visited his street. But he added, “There’s nothing we can do, though — the Jake Paulers are the strongest army out there,” using his nickname for his millions of followers.\u003c/p>\n\u003cp>When KTLA’s Chris Wolfe told Paul that some residents said he’s turned the area into a circus, Paul replied, “Yeah, it is. I mean, but people like going to circuses, right?”\u003c/p>\n\u003cp>The situation has generated hubbub in part because of Paul’s popularity — he has more than 8.5 million followers on both YouTube and on Instagram. Working with other social media stars under the title Team 10, his videos often include pranks and antics that center around his home’s pool — from sliding things and people into it to using it as a huge fire pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is a Team 10 house, and it is lit every single day, bro,” Paul says in one video.\u003c/p>\n\u003cp>His neighbors would like for it not to be lit so often — and not so loudly.\u003c/p>\n\u003cp>“We used to be a really nice, quiet street and now we’re just this, like, war zone,” neighbor Maytal Dahan told KTLA. “We’re families here, and we’re more than happy to have them live here if they’re respectful of their neighbors — but they’re not.”\u003c/p>\n\u003cp>Paul earns millions of dollars from his YouTube channel, according to an estimate from social media tracker \u003ca href=\"https://socialblade.com/youtube/c/jakepaulchannel\">Social Blade\u003c/a>. In addition to being an online celebrity, he is also an actor on \u003cem>Bizaardvark\u003c/em>, a Disney Channel show about … online celebrities.\u003c/p>\n\u003cp>https://twitter.com/jakepaul/status/887531517685248000\u003c/p>\n\u003cp>After local reports about the dispute on his block began to get attention far beyond California, Paul tweeted, “Lol it’s trending.” He later questioned \u003ca href=\"https://twitter.com/jakepaul/status/887531517685248000\" target=\"_blank\" rel=\"noopener\">why so many people care\u003c/a> about him “being a ‘bad’ neighbor,” particularly at a time when “innocent [people are] getting shot every day.”\u003c/p>\n\u003cp>One of the most popular responses to that tweet was a screenshot image (from \u003cem>Orange Is the New Black\u003c/em>) with a caption \u003ca href=\"https://twitter.com/forrestbIues/status/887543206505627648\" target=\"_blank\" rel=\"noopener\">that asks\u003c/a>, “Do you hear yourself sometimes? Like, when you speak?”\u003c/p>\n\u003cp>And while Paul’s fans urged him not to change, others questioned the underpinnings of his celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This entire thread illustrates the downfall of our society. I’ve never been so glad to be in my 40’s,” \u003ca href=\"https://twitter.com/LeahJen/status/887540719480590336\" target=\"_blank\" rel=\"noopener\">Jen Leah wrote\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=YouTube+Star+Jake+Paul%27s+Neighbors+Tell+Him%3A+We%27re+Not+Jake+Paulers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s terrible, it’s a bad situation” — and that’s how the creator of the situation, YouTube star Jake Paul, describes what his neighbors in West Hollywood are going through because of his rowdy lifestyle and made-for-video antics.\u003c/p>\n\u003cp>Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements — and they could file a class-action lawsuit that seeks to declare Paul a public nuisance, \u003ca href=\"http://ktla.com/2017/07/17/in-west-hollywood-social-media-star-jake-pauls-antics-stir-up-the-neighborhood/\" target=\"_blank\" rel=\"noopener\">local TV station KTLA 5\u003c/a> reports.\u003c/p>\n\u003cp>“I feel bad for them, for sure,” Paul, 20, said of his neighbors when KTLA visited his street. But he added, “There’s nothing we can do, though — the Jake Paulers are the strongest army out there,” using his nickname for his millions of followers.\u003c/p>\n\u003cp>When KTLA’s Chris Wolfe told Paul that some residents said he’s turned the area into a circus, Paul replied, “Yeah, it is. I mean, but people like going to circuses, right?”\u003c/p>\n\u003cp>The situation has generated hubbub in part because of Paul’s popularity — he has more than 8.5 million followers on both YouTube and on Instagram. Working with other social media stars under the title Team 10, his videos often include pranks and antics that center around his home’s pool — from sliding things and people into it to using it as a huge fire pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is a Team 10 house, and it is lit every single day, bro,” Paul says in one video.\u003c/p>\n\u003cp>His neighbors would like for it not to be lit so often — and not so loudly.\u003c/p>\n\u003cp>“We used to be a really nice, quiet street and now we’re just this, like, war zone,” neighbor Maytal Dahan told KTLA. “We’re families here, and we’re more than happy to have them live here if they’re respectful of their neighbors — but they’re not.”\u003c/p>\n\u003cp>Paul earns millions of dollars from his YouTube channel, according to an estimate from social media tracker \u003ca href=\"https://socialblade.com/youtube/c/jakepaulchannel\">Social Blade\u003c/a>. In addition to being an online celebrity, he is also an actor on \u003cem>Bizaardvark\u003c/em>, a Disney Channel show about … online celebrities.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After local reports about the dispute on his block began to get attention far beyond California, Paul tweeted, “Lol it’s trending.” He later questioned \u003ca href=\"https://twitter.com/jakepaul/status/887531517685248000\" target=\"_blank\" rel=\"noopener\">why so many people care\u003c/a> about him “being a ‘bad’ neighbor,” particularly at a time when “innocent [people are] getting shot every day.”\u003c/p>\n\u003cp>One of the most popular responses to that tweet was a screenshot image (from \u003cem>Orange Is the New Black\u003c/em>) with a caption \u003ca href=\"https://twitter.com/forrestbIues/status/887543206505627648\" target=\"_blank\" rel=\"noopener\">that asks\u003c/a>, “Do you hear yourself sometimes? Like, when you speak?”\u003c/p>\n\u003cp>And while Paul’s fans urged him not to change, others questioned the underpinnings of his celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This entire thread illustrates the downfall of our society. I’ve never been so glad to be in my 40’s,” \u003ca href=\"https://twitter.com/LeahJen/status/887540719480590336\" target=\"_blank\" rel=\"noopener\">Jen Leah wrote\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=YouTube+Star+Jake+Paul%27s+Neighbors+Tell+Him%3A+We%27re+Not+Jake+Paulers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not everyone wore flowers in their hair during the Summer of Love. Some got their kicks from laughing and pouring scorn from the sidelines, like William F. Buckley, Jr., one of the most iconic conservatives of the era.\u003c/p>\n\u003cp>With his arch wit and possibly affected transatlantic accent, Buckley by turns charmed and offended liberal America on his television show, \u003ci>Firing Line\u003c/i>.\u003c/p>\n\u003cp>You can see for yourself on \u003ca href=\"https://www.youtube.com/channel/UC9lqW3pQDcUuugXLIpzcUdA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, because Buckley left roughly 30 years worth of episodes to the \u003ca href=\"http://www.hoover.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hoover Institution\u003c/a> at Stanford, the conservative research center and think tank.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BYgv7ur8ipg\u003c/p>\n\u003cp>In one of the more bizarre panel discussions ever held on television, Buckley broke down the hippie phenomenon. “The topic tonight is hippies, and understanding of whom we must acquire or die painfully,” Buckley says, before suffering through an awkward hour featuring an obviously intoxicated Jack Kerouac (who wasn’t, technically speaking, a hippie. He was a beat.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much more elucidating is Buckley’s hour with Timothy Leary, a psychologist famous for popularizing psychedelic drugs. He’s the guy who coined the phrase “Tune in, turn on, drop out.”\u003c/p>\n\u003cp>The conversation, as you can imagine, focused mostly on drug culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BnoCHlybAnU\u003c/p>\n\u003cp>“I’m trying to see what your problem is, and I think I’ve diagnosed it,” Leary says in one engaging exchange.\u003c/p>\n\u003cp>“Go ahead, doc,” Buckley replies, as the audience laughs.\u003c/p>\n\u003cp>“Your approach to the word ‘drugs’ is that of, I think, many Americans over the age of 50: when the word ‘drug’ is mentioned, think of an opiate, something that is an escape, something that takes you away from reality, something you take if you’re a failure,” Leary continues. “All the statistics that I’ve seen show that the people who use drugs are pretty well adjusted by any standard or criterion you want to name: income, education, creativity, productivity.”\u003c/p>\n\u003cp>Buckley probably thought Leary was almost willfully naive, ignoring the fact that LSD landed some people in mental hospitals. “You can go to Bellevue tonight, as you know, and find people who took a trip, and the consequences of that we will not know for years, perhaps,” Buckley says.\u003c/p>\n\u003cfigure id=\"attachment_13653320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13653320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png\" alt='William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, \"The World of LSD\")' width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1180x901.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-960x733.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-240x183.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-375x286.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-520x397.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM.png 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, “The World of LSD”) \u003ccite>(Photo: Courtesy of the Hoover Institution Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Firing Line\u003c/em> started broadcasting in 1966. Today, it provides a compelling showcase for how various political and cultural ideas have held up over time — or not.\u003c/p>\n\u003cp>According to right-wing columnist George Will, the show also stands in stark contrast to the tenor of conservative conversation today. “It is the screechy and dominant tone of the loutish faux conservatism that today is erasing Buckley’s legacy of infectious cheerfulness and unapologetic embrace of high culture,” Will recently wrote in the \u003ca href=\"https://www.washingtonpost.com/opinions/conservatism-is-soiled-by-scowling-primitives/2017/05/31/786317a8-4559-11e7-a196-a1bb629f64cb_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>But if Buckley represents a more civilized, shall we say, expression of conservative politics, the test of time does not prove kind to the meat of many of his arguments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pfGhxKxzYdM\u003c/p>\n\u003cp>In 1967, shortly after Ronald Reagan became governor of California, Buckley introducing him as a guest on \u003ci>Firing Line \u003c/i>during the Summer of Love, gushing at the electoral victory.\u003c/p>\n\u003cp>“Perhaps the only mutiny against the political script writers in recent times, it having been ordained that no forthright conservative could be elective to any important executive office, particularly not in the largest and reputedly the most progressive states in the union,” Buckley says, with his characteristically droll attitude.\u003c/p>\n\u003cp>Half a century later, California is still one of the largest and reputedly progressive states in the nation…effectively thumbing its nose at Buckley’s self-assured prescriptions for American politics and culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "With his arch wit and possibly affected transatlantic accent, Buckley by turns charmed and offended liberal America on his television show, 'Firing Line.' ",
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"title": "How William F. Buckley Jr. Tore Down Summer of Love Liberalisms | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not everyone wore flowers in their hair during the Summer of Love. Some got their kicks from laughing and pouring scorn from the sidelines, like William F. Buckley, Jr., one of the most iconic conservatives of the era.\u003c/p>\n\u003cp>With his arch wit and possibly affected transatlantic accent, Buckley by turns charmed and offended liberal America on his television show, \u003ci>Firing Line\u003c/i>.\u003c/p>\n\u003cp>You can see for yourself on \u003ca href=\"https://www.youtube.com/channel/UC9lqW3pQDcUuugXLIpzcUdA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, because Buckley left roughly 30 years worth of episodes to the \u003ca href=\"http://www.hoover.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hoover Institution\u003c/a> at Stanford, the conservative research center and think tank.\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/BYgv7ur8ipg'\n title='//www.youtube.com/embed/BYgv7ur8ipg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the more bizarre panel discussions ever held on television, Buckley broke down the hippie phenomenon. “The topic tonight is hippies, and understanding of whom we must acquire or die painfully,” Buckley says, before suffering through an awkward hour featuring an obviously intoxicated Jack Kerouac (who wasn’t, technically speaking, a hippie. He was a beat.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much more elucidating is Buckley’s hour with Timothy Leary, a psychologist famous for popularizing psychedelic drugs. He’s the guy who coined the phrase “Tune in, turn on, drop out.”\u003c/p>\n\u003cp>The conversation, as you can imagine, focused mostly on drug culture.\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/BnoCHlybAnU'\n title='//www.youtube.com/embed/BnoCHlybAnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m trying to see what your problem is, and I think I’ve diagnosed it,” Leary says in one engaging exchange.\u003c/p>\n\u003cp>“Go ahead, doc,” Buckley replies, as the audience laughs.\u003c/p>\n\u003cp>“Your approach to the word ‘drugs’ is that of, I think, many Americans over the age of 50: when the word ‘drug’ is mentioned, think of an opiate, something that is an escape, something that takes you away from reality, something you take if you’re a failure,” Leary continues. “All the statistics that I’ve seen show that the people who use drugs are pretty well adjusted by any standard or criterion you want to name: income, education, creativity, productivity.”\u003c/p>\n\u003cp>Buckley probably thought Leary was almost willfully naive, ignoring the fact that LSD landed some people in mental hospitals. “You can go to Bellevue tonight, as you know, and find people who took a trip, and the consequences of that we will not know for years, perhaps,” Buckley says.\u003c/p>\n\u003cfigure id=\"attachment_13653320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13653320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png\" alt='William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, \"The World of LSD\")' width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1180x901.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-960x733.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-240x183.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-375x286.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-520x397.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM.png 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, “The World of LSD”) \u003ccite>(Photo: Courtesy of the Hoover Institution Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Firing Line\u003c/em> started broadcasting in 1966. Today, it provides a compelling showcase for how various political and cultural ideas have held up over time — or not.\u003c/p>\n\u003cp>According to right-wing columnist George Will, the show also stands in stark contrast to the tenor of conservative conversation today. “It is the screechy and dominant tone of the loutish faux conservatism that today is erasing Buckley’s legacy of infectious cheerfulness and unapologetic embrace of high culture,” Will recently wrote in the \u003ca href=\"https://www.washingtonpost.com/opinions/conservatism-is-soiled-by-scowling-primitives/2017/05/31/786317a8-4559-11e7-a196-a1bb629f64cb_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>But if Buckley represents a more civilized, shall we say, expression of conservative politics, the test of time does not prove kind to the meat of many of his arguments.\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/pfGhxKxzYdM'\n title='//www.youtube.com/embed/pfGhxKxzYdM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1967, shortly after Ronald Reagan became governor of California, Buckley introducing him as a guest on \u003ci>Firing Line \u003c/i>during the Summer of Love, gushing at the electoral victory.\u003c/p>\n\u003cp>“Perhaps the only mutiny against the political script writers in recent times, it having been ordained that no forthright conservative could be elective to any important executive office, particularly not in the largest and reputedly the most progressive states in the union,” Buckley says, with his characteristically droll attitude.\u003c/p>\n\u003cp>Half a century later, California is still one of the largest and reputedly progressive states in the nation…effectively thumbing its nose at Buckley’s self-assured prescriptions for American politics and culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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