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"disqusTitle": "Fuller House: Let's Overanalyze the First Official Photos from the Set",
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"content": "\u003cp>In case the \u003ca href=\"http://ww2.kqed.org/pop/tag/full-house/\" target=\"_blank\">breathless coverage of \u003cem>Full House\u003c/em>\u003c/a> in the past hasn't tipped you off, I'm a fan of the show and cautiously intrigued by the revival. Netflix just released the first photos from the set, which means it's my duty to overanalyze them. Let me find my magnifying glass.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" rel=\"attachment wp-att-19772\">\u003cimg class=\"aligncenter size-full wp-image-19772\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" alt=\"latoya magnifying glass\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Found it! Let's give these pics a look.\u003c/p>\n\u003cfigure id=\"attachment_19771\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/fuller-house-01.jpg\" rel=\"attachment wp-att-19771\">\u003cimg class=\"size-full wp-image-19771\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/fuller-house-01.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/fuller-house-01.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/fuller-house-01-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>The girls are all grown up! And apparently share the same hair stylist! Stephanie and Kimmie wanted to keep the uniformity going by wearing feline-inspired fashions. D.J. was like nah, this random baby will probably just throw up on it so uninspired grey shirt it is!\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/leahfinnegan/status/685156451757600768\" target=\"_blank\">Someone on Twitter\u003c/a> pointed out that the house looks like the one from \u003cem>Step By Step\u003c/em>. If you're making this face right now, you're not alone:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/DRGuTDE.gif\" rel=\"attachment wp-att-19773\">\u003cimg class=\"aligncenter size-full wp-image-19773\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/DRGuTDE.gif\" alt=\"woah gif\" width=\"340\" height=\"205\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_19768\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-02.jpg\" rel=\"attachment wp-att-19768\">\u003cimg class=\"size-full wp-image-19768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-02.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-02.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-02-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>Ugh, kids. I understand that this show is more about grabbing the attention of a whole new generation à la \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/13-year-old-girl-meets-world-star-rowan-blanchard-perfectly-explains-intersectional-feminism/\" target=\"_blank\">Girl Meets World\u003c/a>\u003c/em>, but I can't help but want everything to be about me and the other old people on the show.\u003c/p>\n\u003cp>I'm a novice body language reader so I'm going to go ahead and say that D.J. is going to be a stick-in-the-mud helicopter mom (her husband died so she won't want her sons to take any risks). Stephanie will fill Uncle Jessie's shoes and be the fun aunt who's rock 'n' roll in the tamest way possible. The oldest kid is going to reach puberty and for sure have a weird dream about Stephanie. The younger brother will be a pyromaniac for at least two episodes. If Kimmie's daughter's knack for matching prints -- turtles \u003cem>and\u003c/em> gemstones! -- is any indication, she will out-quirk her mother, who has been tamed by old age. How will Kimmie deal with being a disciplinarian and welcomed guest rather than a rule-breaker and constant interloper?\u003c/p>\n\u003cfigure id=\"attachment_19770\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-03.jpg\" rel=\"attachment wp-att-19770\">\u003cimg class=\"size-full wp-image-19770\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-03.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-03.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-03-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>Okay, \u003cem>now\u003c/em> things are getting interesting!! Damn, Stephanie, yes! San Francisco is a very different place than it was back in the '90s so why not pretend it's Vegas? Meanwhile, Kimmie is imitating a dog or cat, while D.J. continues to be a judgmental wet blanket.\u003c/p>\n\u003cfigure id=\"attachment_19769\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-04.jpg\" rel=\"attachment wp-att-19769\">\u003cimg class=\"size-full wp-image-19769\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-04.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-04.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-04-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>Aww, still the kind of feel-good show that makes your teeth hurt. Danny Tanner looks on and feels pride at how well his daughters turned out, but he can't ignore that gnawing, hollow feeling in his chest over Michelle, who's decided to cut ties with her family to be Anna Wintour. Also, he's trying really hard to stop himself from cleaning something.\u003c/p>\n\u003cp>Uncle Jessie and Aunt Becky must have sold their Aryan twins for an immortality elixir because damn, they're still really hot. And, last and also least, Uncle Joey sadly looks down at his hands, which aided him in doing whatever drove Alanis to write the ultimate diss track, \"You Oughta Know.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Fuller House\u003c/em> premieres on Netflix on February 26th.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case the \u003ca href=\"http://ww2.kqed.org/pop/tag/full-house/\" target=\"_blank\">breathless coverage of \u003cem>Full House\u003c/em>\u003c/a> in the past hasn't tipped you off, I'm a fan of the show and cautiously intrigued by the revival. Netflix just released the first photos from the set, which means it's my duty to overanalyze them. Let me find my magnifying glass.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" rel=\"attachment wp-att-19772\">\u003cimg class=\"aligncenter size-full wp-image-19772\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" alt=\"latoya magnifying glass\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Found it! Let's give these pics a look.\u003c/p>\n\u003cfigure id=\"attachment_19771\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/fuller-house-01.jpg\" rel=\"attachment wp-att-19771\">\u003cimg class=\"size-full wp-image-19771\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/fuller-house-01.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/fuller-house-01.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/fuller-house-01-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>The girls are all grown up! And apparently share the same hair stylist! Stephanie and Kimmie wanted to keep the uniformity going by wearing feline-inspired fashions. D.J. was like nah, this random baby will probably just throw up on it so uninspired grey shirt it is!\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/leahfinnegan/status/685156451757600768\" target=\"_blank\">Someone on Twitter\u003c/a> pointed out that the house looks like the one from \u003cem>Step By Step\u003c/em>. If you're making this face right now, you're not alone:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/DRGuTDE.gif\" rel=\"attachment wp-att-19773\">\u003cimg class=\"aligncenter size-full wp-image-19773\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/DRGuTDE.gif\" alt=\"woah gif\" width=\"340\" height=\"205\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_19768\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-02.jpg\" rel=\"attachment wp-att-19768\">\u003cimg class=\"size-full wp-image-19768\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-02.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-02.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-02-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>Ugh, kids. I understand that this show is more about grabbing the attention of a whole new generation à la \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/13-year-old-girl-meets-world-star-rowan-blanchard-perfectly-explains-intersectional-feminism/\" target=\"_blank\">Girl Meets World\u003c/a>\u003c/em>, but I can't help but want everything to be about me and the other old people on the show.\u003c/p>\n\u003cp>I'm a novice body language reader so I'm going to go ahead and say that D.J. is going to be a stick-in-the-mud helicopter mom (her husband died so she won't want her sons to take any risks). Stephanie will fill Uncle Jessie's shoes and be the fun aunt who's rock 'n' roll in the tamest way possible. The oldest kid is going to reach puberty and for sure have a weird dream about Stephanie. The younger brother will be a pyromaniac for at least two episodes. If Kimmie's daughter's knack for matching prints -- turtles \u003cem>and\u003c/em> gemstones! -- is any indication, she will out-quirk her mother, who has been tamed by old age. How will Kimmie deal with being a disciplinarian and welcomed guest rather than a rule-breaker and constant interloper?\u003c/p>\n\u003cfigure id=\"attachment_19770\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-03.jpg\" rel=\"attachment wp-att-19770\">\u003cimg class=\"size-full wp-image-19770\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-03.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-03.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-03-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>Okay, \u003cem>now\u003c/em> things are getting interesting!! Damn, Stephanie, yes! San Francisco is a very different place than it was back in the '90s so why not pretend it's Vegas? Meanwhile, Kimmie is imitating a dog or cat, while D.J. continues to be a judgmental wet blanket.\u003c/p>\n\u003cfigure id=\"attachment_19769\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-04.jpg\" rel=\"attachment wp-att-19769\">\u003cimg class=\"size-full wp-image-19769\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Fuller-House-04.jpg\" alt=\"Photo: Michael Yarish / Netflix\" width=\"612\" height=\"380\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-04.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Fuller-House-04-400x248.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Michael Yarish / Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>Aww, still the kind of feel-good show that makes your teeth hurt. Danny Tanner looks on and feels pride at how well his daughters turned out, but he can't ignore that gnawing, hollow feeling in his chest over Michelle, who's decided to cut ties with her family to be Anna Wintour. Also, he's trying really hard to stop himself from cleaning something.\u003c/p>\n\u003cp>Uncle Jessie and Aunt Becky must have sold their Aryan twins for an immortality elixir because damn, they're still really hot. And, last and also least, Uncle Joey sadly looks down at his hands, which aided him in doing whatever drove Alanis to write the ultimate diss track, \"You Oughta Know.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Fuller House\u003c/em> premieres on Netflix on February 26th.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Netflix has already crossed off the biggest item on its New Year’s list of resolutions. The Internet video service debuted in 130 countries Wednesday in a surprise move likely to reel in millions of new subscribers.\u003c/p>\n\u003cp>CEO Reed Hastings revealed the scope of Netflix’s expansion at the end of a presentation in Las Vegas at CES, one of the technology industry’s marquee events.\u003c/p>\n\u003cp>“You are witnessing the birth of a global TV network,” Hastings crowed on stage.\u003c/p>\n\u003cp>The news caught almost everyone off guard because Netflix had previously set a goal of being available in most of the world by the end of this year. It looked like the Los Gatos, California, company had plenty of work ahead it because it ended December in 60 countries.\u003c/p>\n\u003cp>Now, Netflix is available in 21 different languages and streaming in just about every market that it had in its sights, with the notable exception of China, the world’s most populous country. Entering China may be a formidable challenge requiring potentially prickly negotiations with a government that blocks its citizenry from seeing material it considers objectionable or incendiary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Netflix currently has no plans to push into North Korea, Syria or Crimea because of restrictions on U.S. companies operating in those countries.\u003c/p>\n\u003cp>Investors were delighted with Netflix’s quantum leap across the globe. Its stock climbed $8.78, or 8 percent, $116.44 on a grim day in the rest of the market.\u003c/p>\n\u003cp>The uptick in the shares reflects a belief that Netflix is now in a position to sign up more subscribers this year than analysts had previously anticipated, generating additional revenue that the company can spend on TV series and movies as it bids against rivals such as HBO, Amazon.com, YouTube and Hulu for licensing rights.\u003c/p>\n\u003cp>Netflix Inc. began the year with more than 70 million subscribers and management had already vowed to spend about $5 billion this year licensing video from studios around the world.\u003c/p>\n\u003cp>Increasingly, Netflix has been buying material that only can be seen on its service, with more than 600 hours of original programming lined up for this year. That slate encompasses more than 50 exclusive TV shows and movies, including award-winning series such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Netflix is now virtually worldwide, not of all its entertainment will be available everywhere. For instance, a prized licensing contract that gives Netflix the rights to Walt Disney films after their theatrical release will be limited to the U.S. and Canada as part of a deal negotiated several years ago. Hastings told reporters Wednesday that Netflix is hoping to expand those rights into other countries.\u003c/p>\n\u003cp>Netflix has come up with a formula that has proven addictive as its service has transformed the entertainment industry by allowing people to watch video anytime they want on an Internet-connected device.\u003c/p>\n\u003cp>Hastings revealed Wednesday that Netflix subscribers watched 42.5 billion hours of programming last year, including 12 billion hours in the October-December fourth quarter. The fourth-quarter viewership volume represented a nearly 50 percent increase from 8.25 billion hours the previous year. Put another way, Netflix subscribers are now watching a weekly average of 13 hours of programming, up from 12 hours the previous year.\u003c/p>\n\u003cp>In remarks to reporters, Hastings likened the near-completion of Netflix’s worldwide expansion to a parent having a baby. “It’s a big deal, but the real work is the next 20 years,” Hastings, 55, said.\u003c/p>\n\u003cp>One of Netflix’s next challenges will be delivering on its promise to make its international operations profitable by next year. Hastings said the company is on track to fulfill that pledge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix has already crossed off the biggest item on its New Year’s list of resolutions. The Internet video service debuted in 130 countries Wednesday in a surprise move likely to reel in millions of new subscribers.\u003c/p>\n\u003cp>CEO Reed Hastings revealed the scope of Netflix’s expansion at the end of a presentation in Las Vegas at CES, one of the technology industry’s marquee events.\u003c/p>\n\u003cp>“You are witnessing the birth of a global TV network,” Hastings crowed on stage.\u003c/p>\n\u003cp>The news caught almost everyone off guard because Netflix had previously set a goal of being available in most of the world by the end of this year. It looked like the Los Gatos, California, company had plenty of work ahead it because it ended December in 60 countries.\u003c/p>\n\u003cp>Now, Netflix is available in 21 different languages and streaming in just about every market that it had in its sights, with the notable exception of China, the world’s most populous country. Entering China may be a formidable challenge requiring potentially prickly negotiations with a government that blocks its citizenry from seeing material it considers objectionable or incendiary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix currently has no plans to push into North Korea, Syria or Crimea because of restrictions on U.S. companies operating in those countries.\u003c/p>\n\u003cp>Investors were delighted with Netflix’s quantum leap across the globe. Its stock climbed $8.78, or 8 percent, $116.44 on a grim day in the rest of the market.\u003c/p>\n\u003cp>The uptick in the shares reflects a belief that Netflix is now in a position to sign up more subscribers this year than analysts had previously anticipated, generating additional revenue that the company can spend on TV series and movies as it bids against rivals such as HBO, Amazon.com, YouTube and Hulu for licensing rights.\u003c/p>\n\u003cp>Netflix Inc. began the year with more than 70 million subscribers and management had already vowed to spend about $5 billion this year licensing video from studios around the world.\u003c/p>\n\u003cp>Increasingly, Netflix has been buying material that only can be seen on its service, with more than 600 hours of original programming lined up for this year. That slate encompasses more than 50 exclusive TV shows and movies, including award-winning series such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Netflix is now virtually worldwide, not of all its entertainment will be available everywhere. For instance, a prized licensing contract that gives Netflix the rights to Walt Disney films after their theatrical release will be limited to the U.S. and Canada as part of a deal negotiated several years ago. Hastings told reporters Wednesday that Netflix is hoping to expand those rights into other countries.\u003c/p>\n\u003cp>Netflix has come up with a formula that has proven addictive as its service has transformed the entertainment industry by allowing people to watch video anytime they want on an Internet-connected device.\u003c/p>\n\u003cp>Hastings revealed Wednesday that Netflix subscribers watched 42.5 billion hours of programming last year, including 12 billion hours in the October-December fourth quarter. The fourth-quarter viewership volume represented a nearly 50 percent increase from 8.25 billion hours the previous year. Put another way, Netflix subscribers are now watching a weekly average of 13 hours of programming, up from 12 hours the previous year.\u003c/p>\n\u003cp>In remarks to reporters, Hastings likened the near-completion of Netflix’s worldwide expansion to a parent having a baby. “It’s a big deal, but the real work is the next 20 years,” Hastings, 55, said.\u003c/p>\n\u003cp>One of Netflix’s next challenges will be delivering on its promise to make its international operations profitable by next year. Hastings said the company is on track to fulfill that pledge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Over 10 Years, 2 Filmmakers Documented the 'Making' of a Murderer",
"headTitle": "Over 10 Years, 2 Filmmakers Documented the ‘Making’ of a Murderer | KQED",
"content": "\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Downton Abbey' Season 6 Premiere Recap: Let's Talk About Sex",
"title": "'Downton Abbey' Season 6 Premiere Recap: Let's Talk About Sex",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>[contextly_sidebar id=\"u6kwxRc751Fj27mVoFyYa7hMMbDDYM0U\"]Piano keys plink dramatically, a bell tolls, a single rose petal falls, a feather duster flirts with a chandelier: all portents of the final season of \u003cem>Downton Abbey\u003c/em>, a soap opera we all didn’t have to feel bad about watching because of the vaguely historical storylines and the fancy British accents.\u003c/p>\n\u003cp>Forget everything that happened last year? \u003ca href=\"http://ww2.kqed.org/pop/2015/03/01/downton-abbey-season-5-finale-recap-all-i-want-for-christmas-is-you/\" target=\"_blank\">Refresh your memory\u003c/a>.\u003cbr>\nWonder how I think everything should end? \u003ca href=\"http://ww2.kqed.org/pop/2015/01/29/is-downton-abbey-really-over-heres-how-it-should-end/\" target=\"_blank\">Read up\u003c/a>.\u003c/p>\n\u003cp>Everyone else, let’s do this!\u003c/p>\n\u003cp>A crazy amount of dogs follow white dudes in fancy red coats and top hats on horseback. Right off the bat, the \u003cem>Downton Abbey\u003c/em> producers are trying to make up for killing Isis, the only dog that matters. This will not work.\u003c/p>\n\u003cp>Thomas carries a tray of goblets out to the red coats. Maybe one of them will be his new rich love interest and he’ll finally have the means to quit this dumb job and live happily ever after? Yeah, probably not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He passes a drink to Mary, who is wearing a bowler hat and a black coat and \u003cstrong>NOT\u003c/strong> riding side-saddle like a proper, demure lady, because, ever since her sex vacation last season, she doesn’t really give a you-know-what.\u003c/p>\n\u003cp>Sad, overwhelmed Molesley comes outside and all the dogs immediately sniff out his desperation and start barking at him. Per usual, Molesley sucks at life and comes *this close* to dropping everything on his tray. Carson raises an eyebrow at him that translates to: \u003cem>How in the world have I not fired you yet?!\u003c/em> That’s a really good question.\u003c/p>\n\u003cp>A woman in a hat approaches Downton. Let it be Sybil! Maybe she faked her own death to get a break from all her nosy relatives and travel the world or become a progressive politician or something? I don’t care how outlandish the story, I just want Sybil back! #MakeItRightJulianFellowes #BringBackTheHaremPants #StandAgainstPreeclampsia\u003c/p>\n\u003cp>Cora Crawley reminds her husband, Robert, that he probably shouldn’t bail on some important board meeting in order to go hunting. Robert, who has learned nothing from his long history of screwing up business transactions and losing much of the family’s fortune, is like, \u003cem>Whatever, mom!\u003c/em> and gallops off.\u003c/p>\n\u003cp>Cora should have listened to me last season when I screamed at her through my computer screen: STAY WITH THE ART DUDE! OR GO TO JAMAICA AND GET YOUR GROOVE BACK! ANYTHING BUT THIS!\u003c/p>\n\u003cp>Mary and Robert notice the woman in the hat and wonder who she is. She doesn’t look like Sybil so who cares.\u003c/p>\n\u003cp>Robert gives Mary a hard time for not being \"graceful\" and riding side-saddle because it’s only been 2 minutes and we need a reminder that he represents ye olde patriarchy. Mary is not having any of it.\u003c/p>\n\u003cp>It’s 1925. Remember when the show started with\u003ca href=\"http://ww2.kqed.org/pop/2015/12/17/titanic-turns-18-what-you-dont-know-about-the-film/\" target=\"_blank\"> the Titanic\u003c/a> sinking? That was 1912, which means that it’s supposedly been 13 years (math!) since we first met these characters. Even Maggie Smith \u003ca href=\"http://www.vanityfair.com/hollywood/2013/03/maggie-smith-downton-abbey-dowager-countess\" target=\"_blank\">has wondered\u003c/a> how the Dowager Countess is still alive. I'm not concerned with that because the answer’s easy; a being as perfect as that is clearly an immortal goddess dating back to ancient Egypt. What I do wonder is: why is Daisy still basically a baby? Also immortal?\u003c/p>\n\u003cp>Carson talks to Not Sybil, who's still loitering. I have no idea what in the world they’re talking about. Intrigue!\u003c/p>\n\u003cp>Mary and Edith’s kids watch Mrs. Patmore bake. One of them speaks (a first!) and asks to lick the bowl. Eventually, the subject will shift from how delicious cake batter is to how the nearly constant absence of their parents contributed to their inability to accept love or engage in any meaningful intimacy. Hopefully the family still has money for all those therapist bills by then (not likely, if Grandpa Robert keeps bailing on meetings to futz around in the woods).\u003c/p>\n\u003cp>Mrs. Hughes and Thomas talk about how nice (i.e. cute) the new footman, Andy, is. Then, Mrs. Hughes basically warns Thomas not to get an unrequited crush on this one. He stares at her with a weird smile for a beat too long, which means he’s fantasizing about killing her for saying that, but he snaps out of it in order to give baby George a piggy back ride 'cause why not?\u003c/p>\n\u003cp>Daisy asks Mrs. Hughes if she’s set a wedding date yet. She hasn’t because Carson only really kisses her on the forehead and a woman has needs. (I may have inferred a great deal of this.)\u003c/p>\n\u003cp>Later, Mrs. Patmore finds Mrs. Hughes for some real talk. Mrs. Hughes pretends nothing is wrong and Mrs. Patmore gives her a \u003cem>girl, please\u003c/em> look. Turns out I was wrong about Mrs. Hughes wanting more than forehead kisses. She is really freaked out about having sex.\u003c/p>\n\u003cp>Mrs. Patmore brings in reason: \"There's nothing so terrible about it, is there?\" But then she keeps talking: \"…so they say…I wouldn't know, of course.\"\u003c/p>\n\u003cp>So you mean to tell me Mrs. Patmore, who is easily pushing 60, has never ever had sex?! Hurry up, Women's Lib!\u003c/p>\n\u003cp>Mrs. Hughes thinks her \"late middle age\" body is repulsive and prefers the idea of living like \"a very loving brother and sister\" to Carson ever seeing her naked. Mrs. Patmore points out that Carson's body is probably pretty gross too. Mrs. Hughes agrees and momentarily feels better, before asking Mrs. Patmore to go iron this whole naked sex arrangement out with Carson. Now \u003cem>that's\u003c/em> a friend!\u003c/p>\n\u003cp>In the stairwell, Mrs. Patmore runs into Anna, who is crying because that's all her body knows how to do. I wish she would make a pro/con list about her marriage.\u003c/p>\n\u003cp>\u003cstrong>Pro:\u003c/strong> he's kind of cute, if you're into that sort of thing.\u003c/p>\n\u003cp>\u003cstrong>Con:\u003c/strong> he's maybe murdered two different people, is always grumpy, scares potential friends away, talks a big game, but can't back it up, etc. etc. etc.\u003c/p>\n\u003cp>Out in the woods, Not Sybil is loitering again. Get a hobby already!\u003c/p>\n\u003cp>Mary spots her and instantly falls off her horse into the mud. Her dad is kind of worried, but had suspected Mary would be taken down, one way or another, by the un-feminine way she was riding. Not Sybil looks pleased and evil in the distance.\u003c/p>\n\u003cp>Back at the Abbey, some insecure editor dude is yelling at Edith over the phone. He apparently doesn't like working for a woman. Cora suggests she just sell the business and go back to just sitting around. Edith is like nah.\u003c/p>\n\u003cp>At the board meeting, Dowager Countess and cousin Isobel are fighting again (so much for all that ya-ya sisterhood last season). Some big hospital wants to buy their little village hospital. Countess wants to retain control. Isobel thinks it would be better for the patients if they were to hand it over. Isobel's former suitor (you remember, the one with those jerk sons) tells her he's glad they agree. Isobel replies by singing the chorus of Taylor Swift's \"We Are Never Ever Ever Getting Back Together.\"\u003c/p>\n\u003cp>Mary returns home to find Not Sybil lurking in the bushes. She's had enough and confronts the mystery lady. Turns out she's a chambermaid from the hotel where Mary had her sex vacation. Well, damn!\u003c/p>\n\u003cp>She allegedly has\u003ca href=\"http://media.tumblr.com/tumblr_mcspb0ZJ3C1qfqdfr.gif\" target=\"_blank\"> receipts\u003c/a> to prove that Mary is a whore and wants money to keep quiet. Mary says that this isn't the first time someone's tried to blackmail her and walks away in the rain. Not Sybil But A Blackmailing Chambermaid keeps spewing threats.\u003c/p>\n\u003cp>Can we just skip this storyline? It's the final season. Let's spend it worrying about more important things like getting Mrs. Patmore laid and figuring out a way for Edith to kill some Nazis for probably killing her baby daddy!\u003c/p>\n\u003cp>Downstairs in the servants' rec room or whatever, Anna is still being a downer. Meanwhile, Thomas is tired from giving baby Marigold piggy back rides all day. Is he grooming these children to be his accomplices since none of the other servants are evil these days?\u003c/p>\n\u003cp>Molesely says something like, \u003cem>Gosh, how great that Lady Edith found this random pauper baby in the village and wants to give her a better life!\u003c/em> So simple and gullible. Bless his heart.\u003c/p>\n\u003cp>In the drawing room upstairs, Robert and Carson complain about how the servant to rich person ratio is going down. Robert then proceeds to condescendingly lecture Carson about how you can’t resist time or progress, despite the fact that he tried to do just that every moment of the previous five seasons.\u003c/p>\n\u003cp>In Mary's bedroom, Anna and Mary talk about the blackmailer and the latest in Anna's court case (she's on bail for now) before talking about what's really important: whatever will they do about Mary's wet hair?!\u003c/p>\n\u003cp>In the shoe-shining room (if Tori Spelling's mom can have \u003ca href=\"http://img2.timeinc.net/people/i/2009/galleries/candyspelling/candy_spelling2.jpg\" target=\"_blank\">a whole room dedicated to gift-wrapping\u003c/a>, the Crawleys can have one for this, okay?), Bates tries to figure out why Anna is sad. She insists that she's fine…and then bursts into sobs. She had a miscarriage. Did a woman who's married to a creepy bore and is currently on bail for maybe killing her rapist really need another adversity, \u003cem>Downton\u003c/em> writers?\u003c/p>\n\u003cp>At dinner, the family speaks of Tom Branson (come back!). He's found a flat in Boston and Sybbie likes her new school. Robert uses this news as an opportunity to diss the American accent. Cora quickly reminds him that, despite her weird hybrid accent, she is an American! Again, art dude or Jamaica; you have options, Cora!\u003c/p>\n\u003cp>Mary announces that she is going to take over Branson's former duties and everyone gets into a debate about whether women are capable of doing stuff. Robert has changed his tone from outright misogynist to pretend feminist: \"Long live women's rights and all that, but it's not a good idea to take on a job that wears you out.\"\u003c/p>\n\u003cp>Cousin Isobel brings up the hospital fight again in front of everyone. Both the Countess and I are appalled at her lack of manners.\u003c/p>\n\u003cp>In Carson's office, Mrs. Patmore tries to broach the uncomfortable naked fornication subject. It's a shame Salt 'n' Pepa's \"Let's Talk About Sex\" wasn't written yet. That could have helped things along.\u003c/p>\n\u003cp>Mrs. Patmore finally gets around to kind of sort of bringing it up: \"Do you expect to share your…way of life?\" And thus, she wins the award for best euphemism for a penis ever uttered. As if we could love her any more, she then takes a shot of port and gets the hell out of there.\u003c/p>\n\u003cp>Upstairs, the Dowager and Robert whine about downsizing. Boo hoo.\u003c/p>\n\u003cp>In the sitting room, Edith mentions going to London and maybe setting up her own apartment there. One second after she leaves the room, Mary lets one fly: \"Edith, alone on the town, what will she get up to?\" I wish these two would duel and get it over with. Maybe it would even inspire a super popular \u003cem>Hamilton\u003c/em>-esque musical!\u003c/p>\n\u003cp>The next day, Mrs. Hughes and Mrs. Patmore are speaking in code about sex again, when Blackmail Girl interrupts. All these servants and no one is serving as a bouncer? Who let homegirl in?!\u003c/p>\n\u003cp>Anyway, she wants to deliver something to Mary herself and Mrs. Hughes rightly says \"We don't know you\" as shadily \u003ca href=\"http://logoonline.mtvnimages.com/uri/mgid:file:http:shared:newnownext.com/wp-content/uploads/2015/11/mariah-gif-1442374580.0.gif\" target=\"_blank\">as Mariah Carey would\u003c/a>, but the blackmailer makes it happen because Mrs. Hughes is busy thinking about Carson's \"way of life.\"\u003c/p>\n\u003cp>Up in Mary's room, Blackmail Girl says a bunch of rude things, while eating a bit of Mary's toast. Then, she THROWS THE PIECE OF TOAST DOWN REALLY HARD! I was so scandalized, I gasped. Did you? Mary calls the woman \"revolting\" and has Anna, who isn't crying for once (!), escort her out.\u003c/p>\n\u003cp>In the village doctor's office, he and cousin Isobel disagree some more on the hospital crisis. He asks, \"Do you not care?\" I'll answer for all of us and say, Not even a little bit. Next!\u003c/p>\n\u003cp>Back in Mr. Carson's office, a police officer tells Anna and Bates that some woman has confessed to the murder of the rapist, but that they're not in the clear just yet. Bates is pissed that he told them at all, which means that this police dude has a 82% chance of ending up mysteriously dead before the season is up.\u003c/p>\n\u003cp>Upstairs, Carson tells Robert about the eviction of Daisy's father-in-law (remember she married that dying guy even though she was totally just not that into him way back?).\u003c/p>\n\u003cp>Downstairs, Carson runs into his fiancé and calls her Mrs. Hughes, as he always does. She suggests he start calling her Elsie. He says, nope, and then presses her to set the date. She refuses and gets the hell away from the gross naked body underneath his clothes.\u003c/p>\n\u003cp>The Dowager's maid, Denker, shows up and stirs the pot by telling everyone they're probably getting laid off. Everyone hates her and her weird eyebrows.\u003c/p>\n\u003cp>Upstairs, Robert confirms that yes, Daisy's father-in-law is probably being evicted. Ah, glad that's settled.\u003c/p>\n\u003cp>Over at the Dowager's pad, Denker is now telling Spratt, the butler, that he's probably going to be laid off. The Dowager enters and asks Spratt to let the cook know she's ready for dinner. Spratt falls right into Denker's trap by going all Tourette's and blurting out, \"I will, although you could have rang for her yourself!\"\u003c/p>\n\u003cp>The Dowager whips around and has him beheaded on the spot. Well, actually she just says \"I beg your pardon?!\" in an outraged old lady sort of way, but it's basically the same thing.\u003c/p>\n\u003cp>Upstairs, Anna tells Mary about how much she wanted to slap the blackmailer. Yes, Anna, less crying, more revenge!\u003c/p>\n\u003cp>In Carson's pantry, Mrs. Patmore and Carson finally start talking about sex, albeit only through euphemisms. Carson must decide between sexless companionship or hanging from the chandeliers. Which will it be?!\u003c/p>\n\u003cp>Outside, Anna feels like a loser for being barren.\u003c/p>\n\u003cp>Back inside, Carson decides that yes, he does want to have naked sex. Mrs. Patmore says she hopes he gets to have sex soon and goes off to relay the message to Mrs. Hughes. Wow, hooking up pre-Tinder was super involved!\u003c/p>\n\u003cp>Spratt tattles on Denker because the \"snitches get stitches\" aphorism wasn't invented yet.\u003c/p>\n\u003cp>In the Downton kitchen, Daisy shares her plans to attend her father-in-law's former landlord's auction by riding in the front of one of the Downton carriages. Mrs. Patmore says Mr. Carson won't allow it and Daisy responds, \"Even Mr. Carson can't always have his own way.\" Yes, Daisy, you immortal, ageless beauty, do whatever you want!\u003c/p>\n\u003cp>Ugh, Blackmail Girl is back. Molesley lets her right in 'cause, again, he sucks at life. Carson is over her too and tries to kick her out, but she worms her way in again. After a nuclear holocaust, all that will be left is cockroaches, Cher and Blackmail Girl.\u003c/p>\n\u003cp>In London, Edith tells her aunt that she's met Virginia Woolf before. Way to bury the lead, Edith! I knew you were cool! Her aunt thinks so too and asks if she wants to spend the rest of her life hanging around Downton \"being sniped at by Mary\" or if she wants to be a hipster in London. Be a hipster, Edith! Become Virginia Woolf's publisher and lover 'cause being with men hasn't been really working out for you so far. Lest we forget that burn victim you crushed on who was also your maladjusted cousin or whatever!\u003c/p>\n\u003cp>Back at Downton, Mary comes home to find Blackmail Girl hanging out with her Papa. He pays her off, against Mary's wishes, and BG leaves in a cloud of insults (if it was 2014, I would say \"Bye, Felicia!\" but I can't anymore because 2015 happened so I'll just leave it at \"Bye\").\u003c/p>\n\u003cp>Mary and Robert proceed to talk about her sex vacation in a much more straightforward manner than Mr. Carson and Mrs. Patmore did earlier. \u003cem>Papa, I had to know if he was bad at sex before I married him and he was!\u003c/em> she said (in so many words).\u003c/p>\n\u003cp>\u003cstrong>Plot twist:\u003c/strong> Robert did something awesome for a change! He only paid Blackmail Girl 50 pounds and made her sign a confession! And then he said he believes Mary can run the estate, despite her ovaries! Huzzah!\u003c/p>\n\u003cp>Downstairs, Mrs. Hughes is still not sure if she wants to have sex or not. Good grief, girl, just do it. You'll like it. Unless you don't (see: Mary's sex vacation).\u003c/p>\n\u003cp>Upstairs, the Crawleys are leaving for the auction. Edith alludes to leaving Yorkshire to become a Bloomsbury hipster. Mary is at a loss for words 'cause she's probably mad she didn't think of it first.\u003c/p>\n\u003cp>Carson randomly ignores Thomas, inspiring another one of Thomas' one-beat-too-long stares and smiles. He's totally going to kill all of these people someday soon.\u003c/p>\n\u003cp>At the Dowager's house, cousin Isobel talks about the hospital situatio….zzzzzzzzzzz. Oops, nodded off there for a second, where was I?\u003c/p>\n\u003cp>The Dowager off-handedly tells Denker she will miss her, although nothing is yet settled. Denker waits until she's in the hallway to die a little inside. The Dowager then shares some advice on how to be a boss with cousin Isobel: \"Sometimes, it's good to rule by fear.\"\u003c/p>\n\u003cp>At the auction, the Crawleys chat with the sad sack who has to sell all his stuff and move to a small hole in London. He warns ominously not to hang on so long that they lose everything. Edith is like, \u003cem>Right on!\u003c/em> 'cause she's moving soon and no longer gives a damn.\u003c/p>\n\u003cp>In a different room, Daisy and her father-in-law, whose family lived and worked at this place for generations, gawk at all the rich people's things…until Daisy finds the new owner who is kicking her father-in-law out and loudly lets him have it. What all that book learnin' has wrought!\u003c/p>\n\u003cp>Robert and Edith keep trying to stop her from speaking, but she has \u003ca href=\"https://49.media.tumblr.com/tumblr_lq5g36IMra1qijqv8o1_250.gif\" target=\"_blank\">something to say\u003c/a>! \u003cstrong>Cliffs Notes version:\u003c/strong> The proletariat rules, the aristocracy drools. This does not go over well.\u003c/p>\n\u003cp>Back at Downton, Daisy worries aloud about how she's probably going to get fired, but everyone is like, \u003cem>Shut up, the police officer is back! \u003c/em>He tells everyone that the confession has been confirmed. Anna is officially a free woman!\u003c/p>\n\u003cp>The Crawleys run downstairs to pop some bottles. They even get out the gramophone! Everyone does the 1925 version of twerking.\u003c/p>\n\u003cp>Anna is excited and all, but she brings up her inability to have babies again 'cause she's gotten used to always being distraught over something.\u003c/p>\n\u003cp>Carson finds Cora and Robert, asks if he should fire Daisy and compares what she did to Guy Fawkes blowing up Parliament. Those two incidents are exactly the same; you're right, Carson. Ugh, I hope he never ends up having sex. Thankfully, Cora and Robert respond with a tepid \u003cem>meh\u003c/em>.\u003c/p>\n\u003cp>Mrs. Hughes and Carson finally talk about sex and agree to do it, even though Carson doesn't deserve it. \"If you want me, you can have me, warts and all,\" she says. Then, they make out…using their lips!…zero foreheads involved! Good for them.\u003c/p>\n\u003cp>FIN.\u003c/p>\n\u003cp>After every episode, it's only right to reward characters who've impressed and diss the ones that haven't, so here goes:\u003c/p>\n\u003cp>\u003cem>\u003cstrong>PIECE OF COAL:\u003c/strong>\u003c/em>\u003cstrong> Blackmail Girl/Not Sybil: \u003c/strong>Better luck next time, loitering jerk. P.S. You're probably going to hell for throwing that piece of toast like that. Hope you packed sunblock.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>HONORABLE MENTION:\u003c/strong>\u003c/em> \u003cstrong>Isis:\u003c/strong> The \u003cem>Downton\u003c/em> producers are gonna have to find more dogs than that, if they want us to forget you, old friend (impossible).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>BRONZE: \u003c/strong>\u003c/em>\u003cstrong>Daisy: \u003c/strong>Tell it, sister! And stay in school!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>SILVER: \u003c/strong>\u003c/em>\u003cstrong>Edith:\u003c/strong> For knowing Virginia Woolf and planning on moving out. Your day in the sun has come at last (or has it?)!\u003c/p>\n\u003cp>\u003cstrong>\u003cem>GOLD:\u003c/em> Mrs. Patmore:\u003c/strong> We would all be so lucky to have a bestie like you. Talking to Carson, the stodgiest person ever to live, about boinking? That's immediate first place status. A Nobel Peace Prize isn't out of the question either. Take note, other Downton denizens!\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Season 5 recaps:\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/05/downton-abbey-season-5-premiere-recap-lover-you-shouldnt-have-come-over/\">'Downton Abbey' Season 5 Premiere Recap: We Didn't Start the Fire\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/12/downton-abbey-season-5-episode-2-recap-ill-make-love-to-you/\">'Downton Abbey' Season 5 Episode 2 Recap: I'll Make Love To You\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/18/downton-abbey-season-5-episode-3-recap-call-me-maybe/\">'Downton Abbey' Season 5 Episode 3 Recap: Call Me Maybe\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/25/downton-abbey-season-5-episode-4-recap-breaking-up-is-hard-to-do/\">‘Downton Abbey’ Season 5 Episode 4 Recap: Breaking Up Is Hard to Do\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/01/downton-abbey-season-5-episode-5-recap-saturday-nights-alright-for-fighting/\">'Downton Abbey' Season 5 Episode 5 Recap: Saturday Night's Alright For Fighting\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/09/downton-abbey-season-5-episode-6-recap-runaway-train/\">‘Downton Abbey’ Season 5 Episode 6 Recap: Runaway Train\u003cbr>\n\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/15/downton-abbey-season-5-episode-7-recap-dog-days-are-over/\">‘Downton Abbey’ Season 5 Episode 7 Recap: Dog Days Are Over\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/22/downton-abbey-season-5-episode-8-recap-london-calling/\">‘Downton Abbey’ Season 5 Episode 8 Recap: London Calling\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/03/01/downton-abbey-season-5-finale-recap-all-i-want-for-christmas-is-you/\">‘Downton Abbey’ Season 5 Finale Recap: All I Want for Christmas Is You\u003cbr>\n\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Piano keys plink dramatically, a bell tolls, a single rose petal falls, a feather duster flirts with a chandelier: all portents of the final season of \u003cem>Downton Abbey\u003c/em>, a soap opera we all didn’t have to feel bad about watching because of the vaguely historical storylines and the fancy British accents.\u003c/p>\n\u003cp>Forget everything that happened last year? \u003ca href=\"http://ww2.kqed.org/pop/2015/03/01/downton-abbey-season-5-finale-recap-all-i-want-for-christmas-is-you/\" target=\"_blank\">Refresh your memory\u003c/a>.\u003cbr>\nWonder how I think everything should end? \u003ca href=\"http://ww2.kqed.org/pop/2015/01/29/is-downton-abbey-really-over-heres-how-it-should-end/\" target=\"_blank\">Read up\u003c/a>.\u003c/p>\n\u003cp>Everyone else, let’s do this!\u003c/p>\n\u003cp>A crazy amount of dogs follow white dudes in fancy red coats and top hats on horseback. Right off the bat, the \u003cem>Downton Abbey\u003c/em> producers are trying to make up for killing Isis, the only dog that matters. This will not work.\u003c/p>\n\u003cp>Thomas carries a tray of goblets out to the red coats. Maybe one of them will be his new rich love interest and he’ll finally have the means to quit this dumb job and live happily ever after? Yeah, probably not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He passes a drink to Mary, who is wearing a bowler hat and a black coat and \u003cstrong>NOT\u003c/strong> riding side-saddle like a proper, demure lady, because, ever since her sex vacation last season, she doesn’t really give a you-know-what.\u003c/p>\n\u003cp>Sad, overwhelmed Molesley comes outside and all the dogs immediately sniff out his desperation and start barking at him. Per usual, Molesley sucks at life and comes *this close* to dropping everything on his tray. Carson raises an eyebrow at him that translates to: \u003cem>How in the world have I not fired you yet?!\u003c/em> That’s a really good question.\u003c/p>\n\u003cp>A woman in a hat approaches Downton. Let it be Sybil! Maybe she faked her own death to get a break from all her nosy relatives and travel the world or become a progressive politician or something? I don’t care how outlandish the story, I just want Sybil back! #MakeItRightJulianFellowes #BringBackTheHaremPants #StandAgainstPreeclampsia\u003c/p>\n\u003cp>Cora Crawley reminds her husband, Robert, that he probably shouldn’t bail on some important board meeting in order to go hunting. Robert, who has learned nothing from his long history of screwing up business transactions and losing much of the family’s fortune, is like, \u003cem>Whatever, mom!\u003c/em> and gallops off.\u003c/p>\n\u003cp>Cora should have listened to me last season when I screamed at her through my computer screen: STAY WITH THE ART DUDE! OR GO TO JAMAICA AND GET YOUR GROOVE BACK! ANYTHING BUT THIS!\u003c/p>\n\u003cp>Mary and Robert notice the woman in the hat and wonder who she is. She doesn’t look like Sybil so who cares.\u003c/p>\n\u003cp>Robert gives Mary a hard time for not being \"graceful\" and riding side-saddle because it’s only been 2 minutes and we need a reminder that he represents ye olde patriarchy. Mary is not having any of it.\u003c/p>\n\u003cp>It’s 1925. Remember when the show started with\u003ca href=\"http://ww2.kqed.org/pop/2015/12/17/titanic-turns-18-what-you-dont-know-about-the-film/\" target=\"_blank\"> the Titanic\u003c/a> sinking? That was 1912, which means that it’s supposedly been 13 years (math!) since we first met these characters. Even Maggie Smith \u003ca href=\"http://www.vanityfair.com/hollywood/2013/03/maggie-smith-downton-abbey-dowager-countess\" target=\"_blank\">has wondered\u003c/a> how the Dowager Countess is still alive. I'm not concerned with that because the answer’s easy; a being as perfect as that is clearly an immortal goddess dating back to ancient Egypt. What I do wonder is: why is Daisy still basically a baby? Also immortal?\u003c/p>\n\u003cp>Carson talks to Not Sybil, who's still loitering. I have no idea what in the world they’re talking about. Intrigue!\u003c/p>\n\u003cp>Mary and Edith’s kids watch Mrs. Patmore bake. One of them speaks (a first!) and asks to lick the bowl. Eventually, the subject will shift from how delicious cake batter is to how the nearly constant absence of their parents contributed to their inability to accept love or engage in any meaningful intimacy. Hopefully the family still has money for all those therapist bills by then (not likely, if Grandpa Robert keeps bailing on meetings to futz around in the woods).\u003c/p>\n\u003cp>Mrs. Hughes and Thomas talk about how nice (i.e. cute) the new footman, Andy, is. Then, Mrs. Hughes basically warns Thomas not to get an unrequited crush on this one. He stares at her with a weird smile for a beat too long, which means he’s fantasizing about killing her for saying that, but he snaps out of it in order to give baby George a piggy back ride 'cause why not?\u003c/p>\n\u003cp>Daisy asks Mrs. Hughes if she’s set a wedding date yet. She hasn’t because Carson only really kisses her on the forehead and a woman has needs. (I may have inferred a great deal of this.)\u003c/p>\n\u003cp>Later, Mrs. Patmore finds Mrs. Hughes for some real talk. Mrs. Hughes pretends nothing is wrong and Mrs. Patmore gives her a \u003cem>girl, please\u003c/em> look. Turns out I was wrong about Mrs. Hughes wanting more than forehead kisses. She is really freaked out about having sex.\u003c/p>\n\u003cp>Mrs. Patmore brings in reason: \"There's nothing so terrible about it, is there?\" But then she keeps talking: \"…so they say…I wouldn't know, of course.\"\u003c/p>\n\u003cp>So you mean to tell me Mrs. Patmore, who is easily pushing 60, has never ever had sex?! Hurry up, Women's Lib!\u003c/p>\n\u003cp>Mrs. Hughes thinks her \"late middle age\" body is repulsive and prefers the idea of living like \"a very loving brother and sister\" to Carson ever seeing her naked. Mrs. Patmore points out that Carson's body is probably pretty gross too. Mrs. Hughes agrees and momentarily feels better, before asking Mrs. Patmore to go iron this whole naked sex arrangement out with Carson. Now \u003cem>that's\u003c/em> a friend!\u003c/p>\n\u003cp>In the stairwell, Mrs. Patmore runs into Anna, who is crying because that's all her body knows how to do. I wish she would make a pro/con list about her marriage.\u003c/p>\n\u003cp>\u003cstrong>Pro:\u003c/strong> he's kind of cute, if you're into that sort of thing.\u003c/p>\n\u003cp>\u003cstrong>Con:\u003c/strong> he's maybe murdered two different people, is always grumpy, scares potential friends away, talks a big game, but can't back it up, etc. etc. etc.\u003c/p>\n\u003cp>Out in the woods, Not Sybil is loitering again. Get a hobby already!\u003c/p>\n\u003cp>Mary spots her and instantly falls off her horse into the mud. Her dad is kind of worried, but had suspected Mary would be taken down, one way or another, by the un-feminine way she was riding. Not Sybil looks pleased and evil in the distance.\u003c/p>\n\u003cp>Back at the Abbey, some insecure editor dude is yelling at Edith over the phone. He apparently doesn't like working for a woman. Cora suggests she just sell the business and go back to just sitting around. Edith is like nah.\u003c/p>\n\u003cp>At the board meeting, Dowager Countess and cousin Isobel are fighting again (so much for all that ya-ya sisterhood last season). Some big hospital wants to buy their little village hospital. Countess wants to retain control. Isobel thinks it would be better for the patients if they were to hand it over. Isobel's former suitor (you remember, the one with those jerk sons) tells her he's glad they agree. Isobel replies by singing the chorus of Taylor Swift's \"We Are Never Ever Ever Getting Back Together.\"\u003c/p>\n\u003cp>Mary returns home to find Not Sybil lurking in the bushes. She's had enough and confronts the mystery lady. Turns out she's a chambermaid from the hotel where Mary had her sex vacation. Well, damn!\u003c/p>\n\u003cp>She allegedly has\u003ca href=\"http://media.tumblr.com/tumblr_mcspb0ZJ3C1qfqdfr.gif\" target=\"_blank\"> receipts\u003c/a> to prove that Mary is a whore and wants money to keep quiet. Mary says that this isn't the first time someone's tried to blackmail her and walks away in the rain. Not Sybil But A Blackmailing Chambermaid keeps spewing threats.\u003c/p>\n\u003cp>Can we just skip this storyline? It's the final season. Let's spend it worrying about more important things like getting Mrs. Patmore laid and figuring out a way for Edith to kill some Nazis for probably killing her baby daddy!\u003c/p>\n\u003cp>Downstairs in the servants' rec room or whatever, Anna is still being a downer. Meanwhile, Thomas is tired from giving baby Marigold piggy back rides all day. Is he grooming these children to be his accomplices since none of the other servants are evil these days?\u003c/p>\n\u003cp>Molesely says something like, \u003cem>Gosh, how great that Lady Edith found this random pauper baby in the village and wants to give her a better life!\u003c/em> So simple and gullible. Bless his heart.\u003c/p>\n\u003cp>In the drawing room upstairs, Robert and Carson complain about how the servant to rich person ratio is going down. Robert then proceeds to condescendingly lecture Carson about how you can’t resist time or progress, despite the fact that he tried to do just that every moment of the previous five seasons.\u003c/p>\n\u003cp>In Mary's bedroom, Anna and Mary talk about the blackmailer and the latest in Anna's court case (she's on bail for now) before talking about what's really important: whatever will they do about Mary's wet hair?!\u003c/p>\n\u003cp>In the shoe-shining room (if Tori Spelling's mom can have \u003ca href=\"http://img2.timeinc.net/people/i/2009/galleries/candyspelling/candy_spelling2.jpg\" target=\"_blank\">a whole room dedicated to gift-wrapping\u003c/a>, the Crawleys can have one for this, okay?), Bates tries to figure out why Anna is sad. She insists that she's fine…and then bursts into sobs. She had a miscarriage. Did a woman who's married to a creepy bore and is currently on bail for maybe killing her rapist really need another adversity, \u003cem>Downton\u003c/em> writers?\u003c/p>\n\u003cp>At dinner, the family speaks of Tom Branson (come back!). He's found a flat in Boston and Sybbie likes her new school. Robert uses this news as an opportunity to diss the American accent. Cora quickly reminds him that, despite her weird hybrid accent, she is an American! Again, art dude or Jamaica; you have options, Cora!\u003c/p>\n\u003cp>Mary announces that she is going to take over Branson's former duties and everyone gets into a debate about whether women are capable of doing stuff. Robert has changed his tone from outright misogynist to pretend feminist: \"Long live women's rights and all that, but it's not a good idea to take on a job that wears you out.\"\u003c/p>\n\u003cp>Cousin Isobel brings up the hospital fight again in front of everyone. Both the Countess and I are appalled at her lack of manners.\u003c/p>\n\u003cp>In Carson's office, Mrs. Patmore tries to broach the uncomfortable naked fornication subject. It's a shame Salt 'n' Pepa's \"Let's Talk About Sex\" wasn't written yet. That could have helped things along.\u003c/p>\n\u003cp>Mrs. Patmore finally gets around to kind of sort of bringing it up: \"Do you expect to share your…way of life?\" And thus, she wins the award for best euphemism for a penis ever uttered. As if we could love her any more, she then takes a shot of port and gets the hell out of there.\u003c/p>\n\u003cp>Upstairs, the Dowager and Robert whine about downsizing. Boo hoo.\u003c/p>\n\u003cp>In the sitting room, Edith mentions going to London and maybe setting up her own apartment there. One second after she leaves the room, Mary lets one fly: \"Edith, alone on the town, what will she get up to?\" I wish these two would duel and get it over with. Maybe it would even inspire a super popular \u003cem>Hamilton\u003c/em>-esque musical!\u003c/p>\n\u003cp>The next day, Mrs. Hughes and Mrs. Patmore are speaking in code about sex again, when Blackmail Girl interrupts. All these servants and no one is serving as a bouncer? Who let homegirl in?!\u003c/p>\n\u003cp>Anyway, she wants to deliver something to Mary herself and Mrs. Hughes rightly says \"We don't know you\" as shadily \u003ca href=\"http://logoonline.mtvnimages.com/uri/mgid:file:http:shared:newnownext.com/wp-content/uploads/2015/11/mariah-gif-1442374580.0.gif\" target=\"_blank\">as Mariah Carey would\u003c/a>, but the blackmailer makes it happen because Mrs. Hughes is busy thinking about Carson's \"way of life.\"\u003c/p>\n\u003cp>Up in Mary's room, Blackmail Girl says a bunch of rude things, while eating a bit of Mary's toast. Then, she THROWS THE PIECE OF TOAST DOWN REALLY HARD! I was so scandalized, I gasped. Did you? Mary calls the woman \"revolting\" and has Anna, who isn't crying for once (!), escort her out.\u003c/p>\n\u003cp>In the village doctor's office, he and cousin Isobel disagree some more on the hospital crisis. He asks, \"Do you not care?\" I'll answer for all of us and say, Not even a little bit. Next!\u003c/p>\n\u003cp>Back in Mr. Carson's office, a police officer tells Anna and Bates that some woman has confessed to the murder of the rapist, but that they're not in the clear just yet. Bates is pissed that he told them at all, which means that this police dude has a 82% chance of ending up mysteriously dead before the season is up.\u003c/p>\n\u003cp>Upstairs, Carson tells Robert about the eviction of Daisy's father-in-law (remember she married that dying guy even though she was totally just not that into him way back?).\u003c/p>\n\u003cp>Downstairs, Carson runs into his fiancé and calls her Mrs. Hughes, as he always does. She suggests he start calling her Elsie. He says, nope, and then presses her to set the date. She refuses and gets the hell away from the gross naked body underneath his clothes.\u003c/p>\n\u003cp>The Dowager's maid, Denker, shows up and stirs the pot by telling everyone they're probably getting laid off. Everyone hates her and her weird eyebrows.\u003c/p>\n\u003cp>Upstairs, Robert confirms that yes, Daisy's father-in-law is probably being evicted. Ah, glad that's settled.\u003c/p>\n\u003cp>Over at the Dowager's pad, Denker is now telling Spratt, the butler, that he's probably going to be laid off. The Dowager enters and asks Spratt to let the cook know she's ready for dinner. Spratt falls right into Denker's trap by going all Tourette's and blurting out, \"I will, although you could have rang for her yourself!\"\u003c/p>\n\u003cp>The Dowager whips around and has him beheaded on the spot. Well, actually she just says \"I beg your pardon?!\" in an outraged old lady sort of way, but it's basically the same thing.\u003c/p>\n\u003cp>Upstairs, Anna tells Mary about how much she wanted to slap the blackmailer. Yes, Anna, less crying, more revenge!\u003c/p>\n\u003cp>In Carson's pantry, Mrs. Patmore and Carson finally start talking about sex, albeit only through euphemisms. Carson must decide between sexless companionship or hanging from the chandeliers. Which will it be?!\u003c/p>\n\u003cp>Outside, Anna feels like a loser for being barren.\u003c/p>\n\u003cp>Back inside, Carson decides that yes, he does want to have naked sex. Mrs. Patmore says she hopes he gets to have sex soon and goes off to relay the message to Mrs. Hughes. Wow, hooking up pre-Tinder was super involved!\u003c/p>\n\u003cp>Spratt tattles on Denker because the \"snitches get stitches\" aphorism wasn't invented yet.\u003c/p>\n\u003cp>In the Downton kitchen, Daisy shares her plans to attend her father-in-law's former landlord's auction by riding in the front of one of the Downton carriages. Mrs. Patmore says Mr. Carson won't allow it and Daisy responds, \"Even Mr. Carson can't always have his own way.\" Yes, Daisy, you immortal, ageless beauty, do whatever you want!\u003c/p>\n\u003cp>Ugh, Blackmail Girl is back. Molesley lets her right in 'cause, again, he sucks at life. Carson is over her too and tries to kick her out, but she worms her way in again. After a nuclear holocaust, all that will be left is cockroaches, Cher and Blackmail Girl.\u003c/p>\n\u003cp>In London, Edith tells her aunt that she's met Virginia Woolf before. Way to bury the lead, Edith! I knew you were cool! Her aunt thinks so too and asks if she wants to spend the rest of her life hanging around Downton \"being sniped at by Mary\" or if she wants to be a hipster in London. Be a hipster, Edith! Become Virginia Woolf's publisher and lover 'cause being with men hasn't been really working out for you so far. Lest we forget that burn victim you crushed on who was also your maladjusted cousin or whatever!\u003c/p>\n\u003cp>Back at Downton, Mary comes home to find Blackmail Girl hanging out with her Papa. He pays her off, against Mary's wishes, and BG leaves in a cloud of insults (if it was 2014, I would say \"Bye, Felicia!\" but I can't anymore because 2015 happened so I'll just leave it at \"Bye\").\u003c/p>\n\u003cp>Mary and Robert proceed to talk about her sex vacation in a much more straightforward manner than Mr. Carson and Mrs. Patmore did earlier. \u003cem>Papa, I had to know if he was bad at sex before I married him and he was!\u003c/em> she said (in so many words).\u003c/p>\n\u003cp>\u003cstrong>Plot twist:\u003c/strong> Robert did something awesome for a change! He only paid Blackmail Girl 50 pounds and made her sign a confession! And then he said he believes Mary can run the estate, despite her ovaries! Huzzah!\u003c/p>\n\u003cp>Downstairs, Mrs. Hughes is still not sure if she wants to have sex or not. Good grief, girl, just do it. You'll like it. Unless you don't (see: Mary's sex vacation).\u003c/p>\n\u003cp>Upstairs, the Crawleys are leaving for the auction. Edith alludes to leaving Yorkshire to become a Bloomsbury hipster. Mary is at a loss for words 'cause she's probably mad she didn't think of it first.\u003c/p>\n\u003cp>Carson randomly ignores Thomas, inspiring another one of Thomas' one-beat-too-long stares and smiles. He's totally going to kill all of these people someday soon.\u003c/p>\n\u003cp>At the Dowager's house, cousin Isobel talks about the hospital situatio….zzzzzzzzzzz. Oops, nodded off there for a second, where was I?\u003c/p>\n\u003cp>The Dowager off-handedly tells Denker she will miss her, although nothing is yet settled. Denker waits until she's in the hallway to die a little inside. The Dowager then shares some advice on how to be a boss with cousin Isobel: \"Sometimes, it's good to rule by fear.\"\u003c/p>\n\u003cp>At the auction, the Crawleys chat with the sad sack who has to sell all his stuff and move to a small hole in London. He warns ominously not to hang on so long that they lose everything. Edith is like, \u003cem>Right on!\u003c/em> 'cause she's moving soon and no longer gives a damn.\u003c/p>\n\u003cp>In a different room, Daisy and her father-in-law, whose family lived and worked at this place for generations, gawk at all the rich people's things…until Daisy finds the new owner who is kicking her father-in-law out and loudly lets him have it. What all that book learnin' has wrought!\u003c/p>\n\u003cp>Robert and Edith keep trying to stop her from speaking, but she has \u003ca href=\"https://49.media.tumblr.com/tumblr_lq5g36IMra1qijqv8o1_250.gif\" target=\"_blank\">something to say\u003c/a>! \u003cstrong>Cliffs Notes version:\u003c/strong> The proletariat rules, the aristocracy drools. This does not go over well.\u003c/p>\n\u003cp>Back at Downton, Daisy worries aloud about how she's probably going to get fired, but everyone is like, \u003cem>Shut up, the police officer is back! \u003c/em>He tells everyone that the confession has been confirmed. Anna is officially a free woman!\u003c/p>\n\u003cp>The Crawleys run downstairs to pop some bottles. They even get out the gramophone! Everyone does the 1925 version of twerking.\u003c/p>\n\u003cp>Anna is excited and all, but she brings up her inability to have babies again 'cause she's gotten used to always being distraught over something.\u003c/p>\n\u003cp>Carson finds Cora and Robert, asks if he should fire Daisy and compares what she did to Guy Fawkes blowing up Parliament. Those two incidents are exactly the same; you're right, Carson. Ugh, I hope he never ends up having sex. Thankfully, Cora and Robert respond with a tepid \u003cem>meh\u003c/em>.\u003c/p>\n\u003cp>Mrs. Hughes and Carson finally talk about sex and agree to do it, even though Carson doesn't deserve it. \"If you want me, you can have me, warts and all,\" she says. Then, they make out…using their lips!…zero foreheads involved! Good for them.\u003c/p>\n\u003cp>FIN.\u003c/p>\n\u003cp>After every episode, it's only right to reward characters who've impressed and diss the ones that haven't, so here goes:\u003c/p>\n\u003cp>\u003cem>\u003cstrong>PIECE OF COAL:\u003c/strong>\u003c/em>\u003cstrong> Blackmail Girl/Not Sybil: \u003c/strong>Better luck next time, loitering jerk. P.S. You're probably going to hell for throwing that piece of toast like that. Hope you packed sunblock.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>HONORABLE MENTION:\u003c/strong>\u003c/em> \u003cstrong>Isis:\u003c/strong> The \u003cem>Downton\u003c/em> producers are gonna have to find more dogs than that, if they want us to forget you, old friend (impossible).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>BRONZE: \u003c/strong>\u003c/em>\u003cstrong>Daisy: \u003c/strong>Tell it, sister! And stay in school!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>SILVER: \u003c/strong>\u003c/em>\u003cstrong>Edith:\u003c/strong> For knowing Virginia Woolf and planning on moving out. Your day in the sun has come at last (or has it?)!\u003c/p>\n\u003cp>\u003cstrong>\u003cem>GOLD:\u003c/em> Mrs. Patmore:\u003c/strong> We would all be so lucky to have a bestie like you. Talking to Carson, the stodgiest person ever to live, about boinking? That's immediate first place status. A Nobel Peace Prize isn't out of the question either. Take note, other Downton denizens!\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Season 5 recaps:\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/05/downton-abbey-season-5-premiere-recap-lover-you-shouldnt-have-come-over/\">'Downton Abbey' Season 5 Premiere Recap: We Didn't Start the Fire\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/12/downton-abbey-season-5-episode-2-recap-ill-make-love-to-you/\">'Downton Abbey' Season 5 Episode 2 Recap: I'll Make Love To You\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/18/downton-abbey-season-5-episode-3-recap-call-me-maybe/\">'Downton Abbey' Season 5 Episode 3 Recap: Call Me Maybe\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/01/25/downton-abbey-season-5-episode-4-recap-breaking-up-is-hard-to-do/\">‘Downton Abbey’ Season 5 Episode 4 Recap: Breaking Up Is Hard to Do\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/01/downton-abbey-season-5-episode-5-recap-saturday-nights-alright-for-fighting/\">'Downton Abbey' Season 5 Episode 5 Recap: Saturday Night's Alright For Fighting\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/09/downton-abbey-season-5-episode-6-recap-runaway-train/\">‘Downton Abbey’ Season 5 Episode 6 Recap: Runaway Train\u003cbr>\n\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/15/downton-abbey-season-5-episode-7-recap-dog-days-are-over/\">‘Downton Abbey’ Season 5 Episode 7 Recap: Dog Days Are Over\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/2015/02/22/downton-abbey-season-5-episode-8-recap-london-calling/\">‘Downton Abbey’ Season 5 Episode 8 Recap: London Calling\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "George R.R. Martin Admits 'Winter' Isn't Coming — At Least, Not for a While",
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"content": "\u003cp>Care to break the hearts of Game of Thrones fans everywhere? It might just take seven words:\u003c/p>\n\u003cp>“THE WINDS OF WINTER is not finished.”\u003c/p>\n\u003cp>So wrote George R.R. Martin in a \u003ca href=\"http://grrm.livejournal.com/465247.html\">lengthy blog post\u003c/a> published in the wee hours Saturday. The author had hoped to publish the sixth installment of his massively popular fantasy book series, \u003cem>A Song of Ice and Fire\u003c/em>, early in 2016 — which meant finishing and submitting the manuscript to his publishers before the end of 2015.\u003c/p>\n\u003cp>But Martin says those hopes have been dashed.\u003c/p>\n\u003cp>“You’re disappointed, and you’re not alone. My editors and publishers are disappointed, HBO is disappointed, my agents and foreign publishers and translators are disappointed,” Martin writes, “but no one could possibly be more disappointed than me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He notes that this was not the first deadline he has passed — Halloween holds that honor — but the New Year’s deadline may be the most consequential. Meeting it would have ensured that the manuscript cleared the necessary hurdles in time to be published before the end of March, he says — in other words, before the sixth season of \u003cem>Game of Thrones\u003c/em>, the HBO television show based on the books, is set to air in April.\u003c/p>\n\u003cp>“That almost certainly means that no, THE WINDS OF WINTER will not be published before the sixth season of GAME OF THRONES premieres in April,” he writes.\u003c/p>\n\u003cp>The question necessarily follows: Will the show get ahead of the notoriously twist-laden novels?\u003c/p>\n\u003caside class=\"pullquote alignright\">\nThe deadlines just stress me out.\u003cbr>\n\u003ccite>George R. R, Martin\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“Maybe. Yes and no,” Martin writes. “For years my readers have been ahead of the viewers. This year, for some things, the reverse will be true.”\u003c/p>\n\u003cp>Ambiguities aside, Martin pledged to keep writing, to finish the book only when he feels it’s ready and to dispense with all the deadlines.\u003c/p>\n\u003cp>“When delivery will be, I can’t say. I’m not going to set another deadline for myself to trip over,” he writes. “The deadlines just stress me out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is one sentiment this journalist, at least, can certainly sympathize with. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=George+R.R.+Martin+Admits+%27Winter%27+Isn%27t+Coming+%E2%80%94+At+Least%2C+Not+For+A+While&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Care to break the hearts of Game of Thrones fans everywhere? It might just take seven words:\u003c/p>\n\u003cp>“THE WINDS OF WINTER is not finished.”\u003c/p>\n\u003cp>So wrote George R.R. Martin in a \u003ca href=\"http://grrm.livejournal.com/465247.html\">lengthy blog post\u003c/a> published in the wee hours Saturday. The author had hoped to publish the sixth installment of his massively popular fantasy book series, \u003cem>A Song of Ice and Fire\u003c/em>, early in 2016 — which meant finishing and submitting the manuscript to his publishers before the end of 2015.\u003c/p>\n\u003cp>But Martin says those hopes have been dashed.\u003c/p>\n\u003cp>“You’re disappointed, and you’re not alone. My editors and publishers are disappointed, HBO is disappointed, my agents and foreign publishers and translators are disappointed,” Martin writes, “but no one could possibly be more disappointed than me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He notes that this was not the first deadline he has passed — Halloween holds that honor — but the New Year’s deadline may be the most consequential. Meeting it would have ensured that the manuscript cleared the necessary hurdles in time to be published before the end of March, he says — in other words, before the sixth season of \u003cem>Game of Thrones\u003c/em>, the HBO television show based on the books, is set to air in April.\u003c/p>\n\u003cp>“That almost certainly means that no, THE WINDS OF WINTER will not be published before the sixth season of GAME OF THRONES premieres in April,” he writes.\u003c/p>\n\u003cp>The question necessarily follows: Will the show get ahead of the notoriously twist-laden novels?\u003c/p>\n\u003caside class=\"pullquote alignright\">\nThe deadlines just stress me out.\u003cbr>\n\u003ccite>George R. R, Martin\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“Maybe. Yes and no,” Martin writes. “For years my readers have been ahead of the viewers. This year, for some things, the reverse will be true.”\u003c/p>\n\u003cp>Ambiguities aside, Martin pledged to keep writing, to finish the book only when he feels it’s ready and to dispense with all the deadlines.\u003c/p>\n\u003cp>“When delivery will be, I can’t say. I’m not going to set another deadline for myself to trip over,” he writes. “The deadlines just stress me out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is one sentiment this journalist, at least, can certainly sympathize with. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=George+R.R.+Martin+Admits+%27Winter%27+Isn%27t+Coming+%E2%80%94+At+Least%2C+Not+For+A+While&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Netflix And Chew: How Binge Watching Affects Our Eating Habits",
"title": "Netflix And Chew: How Binge Watching Affects Our Eating Habits",
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"content": "\u003cp>Bingeing has become many people's favorite way to consume television. But marathon-viewing doesn't just change how we watch, it also affects how we eat.\u003c/p>\n\u003cp>While the culture of the Netflix all-nighter is relatively recent, researchers have been studying the links between TV viewing and mindless eating for years. And the news isn't good for our waistlines.\u003c/p>\n\u003cp>\"There's convincing evidence in adults that the more television they watch, the more likely they are to gain weight or become overweight or obese,\" says \u003ca href=\"http://www.hsph.harvard.edu/lilian-cheung/\">Lilian Cheung\u003c/a>, director of health promotion and communication at Harvard School of Public Health and author of \u003ca href=\"http://savorthebook.com/\">Savor: Mindful Eating, Mindful Life\u003c/a>.\u003c/p>\n\u003cp>She says the sedentary nature of prolonged viewing as just one contributing factor: \"TV viewing may also promote poor dietary behavior due to frequent exposure to unhealthy food and beverage marketing, as well as providing more opportunities for unhealthy snacking, and interfering with adequate sleep.\" \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Preliminary research has also suggested a connection between binge viewing and higher rates of \u003ca href=\"http://www.npr.org/sections/health-shots/2015/02/04/383527370/does-binge-watching-make-us-depressed-good-question\">depression\u003c/a> and increased risk of developing type 2 \u003ca href=\"http://time.com/3767458/tv-binge-watching-health/\">diabetes\u003c/a>, among other concerns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>University of Houston associate professor \u003ca href=\"http://www.uh.edu/class/communication/faculty-staff/faculty/TempleNorthup/index.php\">Temple Northup\u003c/a> has looked at the relationship between food consumption and the number of hours spent in front of the television. Northup's \u003ca href=\"http://communicationandhealth.ro/upload/number3/TEMPLE-NORTHUP.pdf\">study\u003c/a>, published in the January 2015 issue of \u003cem>The International Journal of Communication and Health\u003c/em>, surveyed 591 undergraduate students on their viewing, eating and drinking habits. Consistent with past studies, he found that the more people watched TV, the more they engaged in unhealthy eating. \"The explanation is relatively straightforward — the act of watching TV is a sedentary activity that encourages snacking,\" says Northup, the interim director of the university's Jack J. Valenti School of Communication.\u003c/p>\n\u003cp>Lots of research shows mindless eating plays a prominent role in how much we ingest while distracted with what is happening on screen. \"Watching TV while eating is also common behavior,\" says Cheung. \"When we are distracted while eating, or eating mindlessly, we are not paying full attention to the food in front of us, and miss the satiety cues letting us know that we are full.\"\u003c/p>\n\u003cp>Overall viewing time is certainly a key factor. But the genre of what you are watching may also influence how much you munch. Researchers from Cornell University's Food and Brand Lab have found that action content (say, \u003cem>The Walking Dead\u003c/em>) made subjects eat twice as much — \u003ca href=\"http://foodpsychology.cornell.edu/OP/watch-what-you-eat\">98 percent\u003c/a> more, to be exact — than their counterparts who watched a talk show. And sad content (like the sci-fi drama\u003cem> Solaris\u003c/em>) made participants eat \u003ca href=\"http://foodpsychology.cornell.edu/OP/watch-what-you-eat\">55 percent\u003c/a> more than those who watched more upbeat content, like the romantic comedy\u003cem> My Big Fat Greek Wedding.\u003c/em>\u003c/p>\n\u003cp>Researchers speculate that action and adventure shows may promote mindless eating because people consume more to keep up with the pace of the content. \"It might be the level of distraction — how engaging the content is,\" says \u003ca href=\"http://foodpsychology.cornell.edu/content/aner-tal\">Aner Tal\u003c/a>, a research associate at Cornell's Food and Brand Lab. \"Another possibility is that it's the feelings associated with what you are watching. Specifically, anything that involves a stress reaction enhances people's levels of cortisol — and we know that leads to overeating.\"\u003c/p>\n\u003cp>With tearjerkers, the increase in snacking can be credited to stress responses but also to emotional eating, which compensates for sadness. \"It makes you feel temporarily better,\" says Tal.\u003c/p>\n\u003cp>Less-obvious cues may also modify eating habits. A separate \u003ca href=\"http://www.sciencedirect.com/science/article/pii/S0195666311005472\">study\u003c/a> from Cornell's Food and Brand Lab found that food-related content on television makes those who are watching their diet (\"restrained eaters\") eat more. Led by Food and Brand Lab Director \u003ca href=\"http://mindlesseating.org/about.php\">Brian Wansink\u003c/a>, the study found that, when subjects watched episodes of \u003cem>SpongeBob SquarePants\u003c/em> in which the protagonist was selling chocolate bars, they ate more than their counterparts who watched an episode unrelated to food.\u003c/p>\n\u003cp>But you don't have to cancel Netflix and Hulu subscriptions to save your waistline. Cheung recommends separating food and television by unplugging while eating.\u003c/p>\n\u003cp>\"To reduce \u003cem>mindless\u003c/em> eating, one can practice \u003cem>mindful\u003c/em> eating for more control over their relationship with food,\" says Cheung. \"When eating, only eat. Turn off the television [and] computer, and put the cellphone away to refrain from checking messages. By removing these distractions, you can bring your full attention to the food in front of you, going beyond just taste and engaging all senses — including sight, smell, texture and the sound your food makes.\"\u003c/p>\n\u003cp>Tal, on the other hand, suggests you don't have to banish snacking while viewing. He says just be aware how television influences what you put in your mouth, and plan accordingly. \"Monitor ahead of time what is there for you to eat. Put out healthier snacks on the table or not have snacks available,\" says Tal. \"You can also substitute your snacks for healthier ones like vegetables.\"\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Susmita Baral is a journalist based in New York City. She frequently writes about science, food and health. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bingeing has become many people's favorite way to consume television. But marathon-viewing doesn't just change how we watch, it also affects how we eat.\u003c/p>\n\u003cp>While the culture of the Netflix all-nighter is relatively recent, researchers have been studying the links between TV viewing and mindless eating for years. And the news isn't good for our waistlines.\u003c/p>\n\u003cp>\"There's convincing evidence in adults that the more television they watch, the more likely they are to gain weight or become overweight or obese,\" says \u003ca href=\"http://www.hsph.harvard.edu/lilian-cheung/\">Lilian Cheung\u003c/a>, director of health promotion and communication at Harvard School of Public Health and author of \u003ca href=\"http://savorthebook.com/\">Savor: Mindful Eating, Mindful Life\u003c/a>.\u003c/p>\n\u003cp>She says the sedentary nature of prolonged viewing as just one contributing factor: \"TV viewing may also promote poor dietary behavior due to frequent exposure to unhealthy food and beverage marketing, as well as providing more opportunities for unhealthy snacking, and interfering with adequate sleep.\" \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Preliminary research has also suggested a connection between binge viewing and higher rates of \u003ca href=\"http://www.npr.org/sections/health-shots/2015/02/04/383527370/does-binge-watching-make-us-depressed-good-question\">depression\u003c/a> and increased risk of developing type 2 \u003ca href=\"http://time.com/3767458/tv-binge-watching-health/\">diabetes\u003c/a>, among other concerns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>University of Houston associate professor \u003ca href=\"http://www.uh.edu/class/communication/faculty-staff/faculty/TempleNorthup/index.php\">Temple Northup\u003c/a> has looked at the relationship between food consumption and the number of hours spent in front of the television. Northup's \u003ca href=\"http://communicationandhealth.ro/upload/number3/TEMPLE-NORTHUP.pdf\">study\u003c/a>, published in the January 2015 issue of \u003cem>The International Journal of Communication and Health\u003c/em>, surveyed 591 undergraduate students on their viewing, eating and drinking habits. Consistent with past studies, he found that the more people watched TV, the more they engaged in unhealthy eating. \"The explanation is relatively straightforward — the act of watching TV is a sedentary activity that encourages snacking,\" says Northup, the interim director of the university's Jack J. Valenti School of Communication.\u003c/p>\n\u003cp>Lots of research shows mindless eating plays a prominent role in how much we ingest while distracted with what is happening on screen. \"Watching TV while eating is also common behavior,\" says Cheung. \"When we are distracted while eating, or eating mindlessly, we are not paying full attention to the food in front of us, and miss the satiety cues letting us know that we are full.\"\u003c/p>\n\u003cp>Overall viewing time is certainly a key factor. But the genre of what you are watching may also influence how much you munch. Researchers from Cornell University's Food and Brand Lab have found that action content (say, \u003cem>The Walking Dead\u003c/em>) made subjects eat twice as much — \u003ca href=\"http://foodpsychology.cornell.edu/OP/watch-what-you-eat\">98 percent\u003c/a> more, to be exact — than their counterparts who watched a talk show. And sad content (like the sci-fi drama\u003cem> Solaris\u003c/em>) made participants eat \u003ca href=\"http://foodpsychology.cornell.edu/OP/watch-what-you-eat\">55 percent\u003c/a> more than those who watched more upbeat content, like the romantic comedy\u003cem> My Big Fat Greek Wedding.\u003c/em>\u003c/p>\n\u003cp>Researchers speculate that action and adventure shows may promote mindless eating because people consume more to keep up with the pace of the content. \"It might be the level of distraction — how engaging the content is,\" says \u003ca href=\"http://foodpsychology.cornell.edu/content/aner-tal\">Aner Tal\u003c/a>, a research associate at Cornell's Food and Brand Lab. \"Another possibility is that it's the feelings associated with what you are watching. Specifically, anything that involves a stress reaction enhances people's levels of cortisol — and we know that leads to overeating.\"\u003c/p>\n\u003cp>With tearjerkers, the increase in snacking can be credited to stress responses but also to emotional eating, which compensates for sadness. \"It makes you feel temporarily better,\" says Tal.\u003c/p>\n\u003cp>Less-obvious cues may also modify eating habits. A separate \u003ca href=\"http://www.sciencedirect.com/science/article/pii/S0195666311005472\">study\u003c/a> from Cornell's Food and Brand Lab found that food-related content on television makes those who are watching their diet (\"restrained eaters\") eat more. Led by Food and Brand Lab Director \u003ca href=\"http://mindlesseating.org/about.php\">Brian Wansink\u003c/a>, the study found that, when subjects watched episodes of \u003cem>SpongeBob SquarePants\u003c/em> in which the protagonist was selling chocolate bars, they ate more than their counterparts who watched an episode unrelated to food.\u003c/p>\n\u003cp>But you don't have to cancel Netflix and Hulu subscriptions to save your waistline. Cheung recommends separating food and television by unplugging while eating.\u003c/p>\n\u003cp>\"To reduce \u003cem>mindless\u003c/em> eating, one can practice \u003cem>mindful\u003c/em> eating for more control over their relationship with food,\" says Cheung. \"When eating, only eat. Turn off the television [and] computer, and put the cellphone away to refrain from checking messages. By removing these distractions, you can bring your full attention to the food in front of you, going beyond just taste and engaging all senses — including sight, smell, texture and the sound your food makes.\"\u003c/p>\n\u003cp>Tal, on the other hand, suggests you don't have to banish snacking while viewing. He says just be aware how television influences what you put in your mouth, and plan accordingly. \"Monitor ahead of time what is there for you to eat. Put out healthier snacks on the table or not have snacks available,\" says Tal. \"You can also substitute your snacks for healthier ones like vegetables.\"\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Susmita Baral is a journalist based in New York City. She frequently writes about science, food and health. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Last month, much to the frothy anticipation of comic book fans, Netflix released the Marvel web series Jessica Jones. If you're an early adopter -- or even if you just like reading entertainment news -- you know the basics: Jessica is a private eye in NYC with superhero tendencies, PTSD, and a liver designed for whiskey. The show is set in the present, but follows the typical '50s detective noir motif of an alcoholic anti-hero digging up dirt in a metropolis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The twist? The show continuously subverts gender norms, and places the female protagonist in a role of kick-ass prowess. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A few of her predecessors, Xena and Buffy Summers, were instant cult heroine classics. They taught the little girls of the '90s to throw witticisms into the face of danger, whether at a king dead-set on killing a baby fated to dethrone him, or a boyfriend who turns evil after the first time you two have sex. It's tough to tell right now whether Jones will be an influential cult hit -- she has a dark side that’s hard to stomach. What we \u003cem>can\u003c/em> do is figure out where she fits on the echelon of supernatural female badassery.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">First off: all three shows place a huge emphasis on female friendships. Xena’s sidekick Gabrielle helps Xena pursue the greater good with her maternal instincts, naivete, and sarcastic comebacks. She’s Xena’s moral compass and strategical mind when a roundhouse kick and screaming “ayi-ayi-ayee” just won’t cut it. Also,\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_19673\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19673\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/rs_560x415-140522135617-rs_1024x759-131212171553-1024.xena_.cm_.121213-400x296.jpg\" alt=\"Gabrielle and Xena\" width=\"400\" height=\"296\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_560x415-140522135617-rs_1024x759-131212171553-1024.xena_.cm_.121213-400x296.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_560x415-140522135617-rs_1024x759-131212171553-1024.xena_.cm_.121213.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle and Xena\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">the show was hugely influential with the lesbian community because of the sexual innuendos and tension between the two characters. Maybe not an obvious mainstream media win for the LGBTQ community, but a foot in the door nonetheless. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Buffy, on the other hand, has an entire band of misfits, male and female, watching her back throughout the series. The core of Xander, Willow, and Giles have stuck with her since high school. They’re loyal to a fault, and often getting caught in heartbreaking dilemmas. Jessica only really trusts her best friend Trish Walker, a famed talk show host. Jessica and Trish protect each other while independently working on their own self-preservation. Neither are damsels in distress. Neither ask for a man’s protection.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/mojorojo/status/670495742503489537\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Let’s talk about the inherent beauty of campy television, and ridiculous plot devices. Xena is allegedly the daughter of Ares, yet this is never confirmed. She was first introduced on the series Hercules: The Legendary Journey as a villain. After three episodes of tireless back and forth with Hercules, Xena wooes the audience and lands her own spin-off. Now, in a series that channels much of Evil Dead 2’s humor, she becomes “a mighty princess forged in the heat of battle” and fights mythological creatures in a push-up leather get-up and flawless skin. The dialogue is cringe-worthy. The male adversaries are blundering brutes with zilch chance at overcoming Xena and Gabrielle. The show lasts six seasons; a success. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You move on to Buffy, and you see similar campy ploys, but with a big shift. We’ll get to that big shift in a sec, but first: Buffy is the only Vampire Slayer in existence (aside from Faith), yet she pretty much never has to travel to fight big bads for other countries. What’s up? How was Sunnyvale so conveniently on a Hellmouth? Despite the chiseled jawbone, why was it okay that a 200-something year old vampire, Angel, was Buffy’s first love at 16? Despite the numerous common sense foils and deus ex machina saves, Buffy The Vampire Slayer’s saving grace was the family of stalwart friends with snappy retorts and unwavering loyalty. It was unnervingly exactly what you wanted yourself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jessica Jones lacks camp, silliness, and warmth. Instead, you get the bleak reality of life with PTSD, and using alcohol as an emotional crutch. Jones is volatile. You want to root for her, but half of the time her friends give her better advice and she still lashes out. If you want a neat arc of human progress and resilience, Jessica Jones is not the show for you. Instead, it’s a realistic portrayal of the lasting effects of PTSD even after therapy or time has elapsed. It strays so far from campy that you want to pull it back, but the discomfort is a necessary progression of the genre. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Stretching the boundaries of female characterization past the point of likability is brave. It’s experimental, relatable, and it’s causing people to rethink what constitutes a favorite character. I’d recommend all three of these shows. They all pass the \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Bechdel_test\">\u003cspan style=\"font-weight: 400\">Bechdel test\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- and what do you know? They're all on Netflix. There'd be worse ways to kick off your 2016. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Last month, much to the frothy anticipation of comic book fans, Netflix released the Marvel web series Jessica Jones. If you're an early adopter -- or even if you just like reading entertainment news -- you know the basics: Jessica is a private eye in NYC with superhero tendencies, PTSD, and a liver designed for whiskey. The show is set in the present, but follows the typical '50s detective noir motif of an alcoholic anti-hero digging up dirt in a metropolis. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The twist? The show continuously subverts gender norms, and places the female protagonist in a role of kick-ass prowess. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A few of her predecessors, Xena and Buffy Summers, were instant cult heroine classics. They taught the little girls of the '90s to throw witticisms into the face of danger, whether at a king dead-set on killing a baby fated to dethrone him, or a boyfriend who turns evil after the first time you two have sex. It's tough to tell right now whether Jones will be an influential cult hit -- she has a dark side that’s hard to stomach. What we \u003cem>can\u003c/em> do is figure out where she fits on the echelon of supernatural female badassery.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">First off: all three shows place a huge emphasis on female friendships. Xena’s sidekick Gabrielle helps Xena pursue the greater good with her maternal instincts, naivete, and sarcastic comebacks. She’s Xena’s moral compass and strategical mind when a roundhouse kick and screaming “ayi-ayi-ayee” just won’t cut it. Also,\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_19673\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19673\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/rs_560x415-140522135617-rs_1024x759-131212171553-1024.xena_.cm_.121213-400x296.jpg\" alt=\"Gabrielle and Xena\" width=\"400\" height=\"296\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_560x415-140522135617-rs_1024x759-131212171553-1024.xena_.cm_.121213-400x296.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_560x415-140522135617-rs_1024x759-131212171553-1024.xena_.cm_.121213.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle and Xena\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">the show was hugely influential with the lesbian community because of the sexual innuendos and tension between the two characters. Maybe not an obvious mainstream media win for the LGBTQ community, but a foot in the door nonetheless. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">Let’s talk about the inherent beauty of campy television, and ridiculous plot devices. Xena is allegedly the daughter of Ares, yet this is never confirmed. She was first introduced on the series Hercules: The Legendary Journey as a villain. After three episodes of tireless back and forth with Hercules, Xena wooes the audience and lands her own spin-off. Now, in a series that channels much of Evil Dead 2’s humor, she becomes “a mighty princess forged in the heat of battle” and fights mythological creatures in a push-up leather get-up and flawless skin. The dialogue is cringe-worthy. The male adversaries are blundering brutes with zilch chance at overcoming Xena and Gabrielle. The show lasts six seasons; a success. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You move on to Buffy, and you see similar campy ploys, but with a big shift. We’ll get to that big shift in a sec, but first: Buffy is the only Vampire Slayer in existence (aside from Faith), yet she pretty much never has to travel to fight big bads for other countries. What’s up? How was Sunnyvale so conveniently on a Hellmouth? Despite the chiseled jawbone, why was it okay that a 200-something year old vampire, Angel, was Buffy’s first love at 16? Despite the numerous common sense foils and deus ex machina saves, Buffy The Vampire Slayer’s saving grace was the family of stalwart friends with snappy retorts and unwavering loyalty. It was unnervingly exactly what you wanted yourself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jessica Jones lacks camp, silliness, and warmth. Instead, you get the bleak reality of life with PTSD, and using alcohol as an emotional crutch. Jones is volatile. You want to root for her, but half of the time her friends give her better advice and she still lashes out. If you want a neat arc of human progress and resilience, Jessica Jones is not the show for you. Instead, it’s a realistic portrayal of the lasting effects of PTSD even after therapy or time has elapsed. It strays so far from campy that you want to pull it back, but the discomfort is a necessary progression of the genre. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Stretching the boundaries of female characterization past the point of likability is brave. It’s experimental, relatable, and it’s causing people to rethink what constitutes a favorite character. I’d recommend all three of these shows. They all pass the \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Bechdel_test\">\u003cspan style=\"font-weight: 400\">Bechdel test\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- and what do you know? They're all on Netflix. There'd be worse ways to kick off your 2016. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>’Tis the season everyone!\u003c/p>\n\u003cp>You have a short (or a long) break from work coming up, kids will be out of school, and it’s about to get really rainy. What better time to curl up on the couch for hours and hours with your favorite KQED television programs?\u003c/p>\n\u003cp>Over the next couple of weeks, viewers have some fun binge-watching opportunities across multiple KQED television channels. Kids from one to ninety-two will be celebrating the holidays by spending hours with KQED – we hope you will join as well!\u003c/p>\n\u003cp>\u003cstrong>December 24: \u003c/strong>\u003cbr>\nThis Christmas Eve, settle in for a marathon of children’s holiday specials on \u003ca href=\"http://www.kqed.org/tv/schedules/daily/kids.jsp?format=long&ymd=2015-12-24\">KIDS (Comcast 192, DT54.4)\u003c/a>\u003cbr>\n3pm: Arthur’s Perfect Christmas\u003cbr>\n4pm: Peg + Cat + Holidays\u003cbr>\n5pm: Curious George: A Very Monkey Christmas\u003cbr>\n6pm: The Cat in the Hat Knows a Lot About Christmas!\u003cbr>\n7pm: Wild Kratts: A Creature Christmas\u003cbr>\n8pm: Odd Squad #104 (Reindeer Games)\u003c/p>\n\u003cp>\u003cstrong>December 25: \u003c/strong>\u003cbr>\nIt’s time for dessert! Watch the entire second season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22703\">The Great British Baking Show\u003c/a> and root for your favorite to be crowned the best amateur baker.\u003cbr>\nStarting at noon on LIFE (Comcast 189, DT54.3)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>January 1:\u003c/strong>\u003cbr>\nCelebrate the New Year with the Crawley family and get ready for the new season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> with a look back at the entire fifth season. After the marathon, stay tuned for the premiere of the new Sherlock special!\u003cbr>\nStarting at 9:30am on PLUS (Sherlock: The Abominable Bride begins at 9pm)\u003c/p>\n\u003cp>\u003cstrong>January 3: \u003c/strong>\u003cbr>\nIt’s another chance to catch up on last season before the sixth (and final) season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> begins that evening.\u003cbr>\nStarting at 8:30am on KQED (Downton Abbey season 6 premiere begins at 9pm)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy Holidays all!\u003cbr>\nMeredith Speight\u003cbr>\nAssistant Program Director\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>’Tis the season everyone!\u003c/p>\n\u003cp>You have a short (or a long) break from work coming up, kids will be out of school, and it’s about to get really rainy. What better time to curl up on the couch for hours and hours with your favorite KQED television programs?\u003c/p>\n\u003cp>Over the next couple of weeks, viewers have some fun binge-watching opportunities across multiple KQED television channels. Kids from one to ninety-two will be celebrating the holidays by spending hours with KQED – we hope you will join as well!\u003c/p>\n\u003cp>\u003cstrong>December 24: \u003c/strong>\u003cbr>\nThis Christmas Eve, settle in for a marathon of children’s holiday specials on \u003ca href=\"http://www.kqed.org/tv/schedules/daily/kids.jsp?format=long&ymd=2015-12-24\">KIDS (Comcast 192, DT54.4)\u003c/a>\u003cbr>\n3pm: Arthur’s Perfect Christmas\u003cbr>\n4pm: Peg + Cat + Holidays\u003cbr>\n5pm: Curious George: A Very Monkey Christmas\u003cbr>\n6pm: The Cat in the Hat Knows a Lot About Christmas!\u003cbr>\n7pm: Wild Kratts: A Creature Christmas\u003cbr>\n8pm: Odd Squad #104 (Reindeer Games)\u003c/p>\n\u003cp>\u003cstrong>December 25: \u003c/strong>\u003cbr>\nIt’s time for dessert! Watch the entire second season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=22703\">The Great British Baking Show\u003c/a> and root for your favorite to be crowned the best amateur baker.\u003cbr>\nStarting at noon on LIFE (Comcast 189, DT54.3)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>January 1:\u003c/strong>\u003cbr>\nCelebrate the New Year with the Crawley family and get ready for the new season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> with a look back at the entire fifth season. After the marathon, stay tuned for the premiere of the new Sherlock special!\u003cbr>\nStarting at 9:30am on PLUS (Sherlock: The Abominable Bride begins at 9pm)\u003c/p>\n\u003cp>\u003cstrong>January 3: \u003c/strong>\u003cbr>\nIt’s another chance to catch up on last season before the sixth (and final) season of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=17336\">Downton Abbey\u003c/a> begins that evening.\u003cbr>\nStarting at 8:30am on KQED (Downton Abbey season 6 premiere begins at 9pm)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy Holidays all!\u003cbr>\nMeredith Speight\u003cbr>\nAssistant Program Director\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When NBC announced \u003cem>The Wiz \u003c/em>— the African-American version of \u003cem>The Wizard of Oz,\u003c/em> presented as a hit Broadway musical and a movie — would be produced as a live television production, some TV watchers may have groaned.\u003c/p>\n\u003cp>Previous live telecasts of other musicals have gotten attention mainly as a target for hate-watching. But \u003cem>The Wiz Live!\u003c/em> seems to have broken that spell: When it aired earlier this month, it earned 11.5 million viewers — and more if you count DVR replays.\u003c/p>\n\u003cp>It was one of the top viewing choices of the week among both kids and adults, and was the most-tweeted live special program ever, according to Nielsen’s records.\u003c/p>\n\u003cp>Just this week it earned five Critics’ Choice Award nominations. It was rebroadcast on Saturday night, and it’s \u003ca href=\"http://www.nbc.com/the-wiz-live/video/the-wiz-live/2943548\" target=\"_blank\" rel=\"noopener\">available on NBC.com\u003c/a> and other streaming services.\u003c/p>\n\u003cp>Two of the show’s stars — Shanice Williams, who had a huge breakout moment as Dorothy, the Kansas girl who goes on a quest to get back home, and Grammy-winning artist Ne-Yo, who showed off his skills as a singer, dancer and composer as the Tin Man — joined NPR’s Michel Martin to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_11180362\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg\" alt=\"Shanice Williams' role as Dorothy was her first professional gig ever\" width=\"640\" height=\"360\" class=\"size-large wp-image-11180362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shanice Williams’ role as Dorothy was her first professional gig ever \u003ccite>(Virginia Sherwood/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Williams, on performing with so many heavy hitters in her first major professional role\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “At the beginning, I was questioning, ‘Am I really the right Dorothy? Did they really make the right choice?’ But as we went along the journey, like Ne-Yo says, there is a reason for everything.”\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo, on whether he was concerned about the hate-watching of previous live musicals\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “I didn’t feel like anything was gonna go wrong. I knew the possibility was there, and I knew that the haters was there and the skeptics were there and everybody was just basically waiting on us to mess up. That kind of created a pressure that just made us do that much better. We basically knew that we were gonna get out there and we were gonna do what we had to do. We knew we were.”\u003c/p>\n\u003cp>\u003cstrong>On the song Ne-Yo wrote for the new production, “We Got It”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “At that point, you kind of see the four friends for the first time just doubting the whole situation. You know, in the song it’s Dorothy that actually rallies the troops and gets everybody together and lets it be known that in order to make this happen, we gotta work together — and if we work together there’s nothing we can’t accomplish.”\u003c/p>\n\u003cp>\u003cstrong>On the importance of the show’s legacy\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “Kenny [Leon, the director,] jammed it in our head every other day: We’re standing on very tall shoulders with this, and we have a responsibility to the legacy of what this is. Let’s add a positive note to the legacy. And we went for it, we gave it everything.”\u003c/p>\n\u003cp>\u003cstrong>On \u003ca href=\"http://www.ew.com/article/2015/12/04/wiz-live-where-toto-burning-questions-answered\">Toto disappearing\u003c/a> during the production\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “We were doing the Broadway version. In the Broadway version, Toto comes at the beginning and the end. So, Toto is a star, and he was right where he needed to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Wiz+Live%21%27+Defied+The+Skeptics%2C+Returns+For+A+Second+Round&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When NBC announced \u003cem>The Wiz \u003c/em>— the African-American version of \u003cem>The Wizard of Oz,\u003c/em> presented as a hit Broadway musical and a movie — would be produced as a live television production, some TV watchers may have groaned.\u003c/p>\n\u003cp>Previous live telecasts of other musicals have gotten attention mainly as a target for hate-watching. But \u003cem>The Wiz Live!\u003c/em> seems to have broken that spell: When it aired earlier this month, it earned 11.5 million viewers — and more if you count DVR replays.\u003c/p>\n\u003cp>It was one of the top viewing choices of the week among both kids and adults, and was the most-tweeted live special program ever, according to Nielsen’s records.\u003c/p>\n\u003cp>Just this week it earned five Critics’ Choice Award nominations. It was rebroadcast on Saturday night, and it’s \u003ca href=\"http://www.nbc.com/the-wiz-live/video/the-wiz-live/2943548\" target=\"_blank\" rel=\"noopener\">available on NBC.com\u003c/a> and other streaming services.\u003c/p>\n\u003cp>Two of the show’s stars — Shanice Williams, who had a huge breakout moment as Dorothy, the Kansas girl who goes on a quest to get back home, and Grammy-winning artist Ne-Yo, who showed off his skills as a singer, dancer and composer as the Tin Man — joined NPR’s Michel Martin to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_11180362\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg\" alt=\"Shanice Williams' role as Dorothy was her first professional gig ever\" width=\"640\" height=\"360\" class=\"size-large wp-image-11180362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/nup_171880_1964_wide-289d15289eae23d4ffe64c1c83065c45ffa48c4c-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shanice Williams’ role as Dorothy was her first professional gig ever \u003ccite>(Virginia Sherwood/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Williams, on performing with so many heavy hitters in her first major professional role\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “At the beginning, I was questioning, ‘Am I really the right Dorothy? Did they really make the right choice?’ But as we went along the journey, like Ne-Yo says, there is a reason for everything.”\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo, on whether he was concerned about the hate-watching of previous live musicals\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “I didn’t feel like anything was gonna go wrong. I knew the possibility was there, and I knew that the haters was there and the skeptics were there and everybody was just basically waiting on us to mess up. That kind of created a pressure that just made us do that much better. We basically knew that we were gonna get out there and we were gonna do what we had to do. We knew we were.”\u003c/p>\n\u003cp>\u003cstrong>On the song Ne-Yo wrote for the new production, “We Got It”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “At that point, you kind of see the four friends for the first time just doubting the whole situation. You know, in the song it’s Dorothy that actually rallies the troops and gets everybody together and lets it be known that in order to make this happen, we gotta work together — and if we work together there’s nothing we can’t accomplish.”\u003c/p>\n\u003cp>\u003cstrong>On the importance of the show’s legacy\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ne-Yo:\u003c/strong> “Kenny [Leon, the director,] jammed it in our head every other day: We’re standing on very tall shoulders with this, and we have a responsibility to the legacy of what this is. Let’s add a positive note to the legacy. And we went for it, we gave it everything.”\u003c/p>\n\u003cp>\u003cstrong>On \u003ca href=\"http://www.ew.com/article/2015/12/04/wiz-live-where-toto-burning-questions-answered\">Toto disappearing\u003c/a> during the production\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Williams:\u003c/strong> “We were doing the Broadway version. In the Broadway version, Toto comes at the beginning and the end. So, Toto is a star, and he was right where he needed to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Wiz+Live%21%27+Defied+The+Skeptics%2C+Returns+For+A+Second+Round&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For a brief moment \u003ca href=\"http://www.reviewjournal.com/news/nation-and-world/miss-philippines-crowned-miss-universe-planet-hollywood-after-harvey-gaffe\" target=\"_blank\" rel=\"noopener\">in Las Vegas \u003c/a>Sunday night, Miss Colombia Ariadna Gutierrez Arevalo was crowned \u003ca href=\"http://missuniverse.com/\" target=\"_blank\" rel=\"noopener\">Miss Universe\u003c/a>.\u003c/p>\n\u003cp>Then host Steve Harvey apologized, saying he had read the card wrong.\u003c/p>\n\u003cp>The real winner was Miss Philippines Pia Alonzo Wurtzbach.\u003c/p>\n\u003cp>Miss Colombia it turns out was the first runner-up.\u003c/p>\n\u003cp>The crown was taken off Arevalo’s head and place on Wurtzbach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Assoicated Press reports that after the live broadcast on Fox, Harvey and an executive for pageant owner WME-IMG, an entertaiment company, called it human error.\u003c/p>\n\u003cp>Harvey is quoted as saying, “Nobody feels worse about this than me.”\u003c/p>\n\u003cp>“I’d like to apologize wholeheartedly to Miss Colombia and Miss Philippines for my huge mistake,” Harvey said on Twitter. “I feel terrible.”\u003c/p>\n\u003cp>Had Arevalo been the winner, Colombia would have won the contest two years in a row.\u003c/p>\n\u003cp>The pageant got attention in June when co-owner Donald Trump made anti-immigrant remarks while announcing his bid to run for the Republican presidential nomination.\u003c/p>\n\u003cp>The other owner was Comcast Corp’s NBCUniversal.\u003c/p>\n\u003cp>Spanish-language network \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"_blank\" rel=\"noopener\">Univision pulled out of a deal \u003c/a>to televise the pageant, and NBC cut ties with Trump.\u003c/p>\n\u003cp>Trump sued and eventually settled with NBC and bought the network’s stake in Miss Universe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Trump later sold Miss Universe, Miss USA and Miss Teen USA pageants to WME-IMG. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. \n\u003cp>To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oops%3A+Wrong+Name+Announced+As+Winner+Of+Miss+Universe+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a brief moment \u003ca href=\"http://www.reviewjournal.com/news/nation-and-world/miss-philippines-crowned-miss-universe-planet-hollywood-after-harvey-gaffe\" target=\"_blank\" rel=\"noopener\">in Las Vegas \u003c/a>Sunday night, Miss Colombia Ariadna Gutierrez Arevalo was crowned \u003ca href=\"http://missuniverse.com/\" target=\"_blank\" rel=\"noopener\">Miss Universe\u003c/a>.\u003c/p>\n\u003cp>Then host Steve Harvey apologized, saying he had read the card wrong.\u003c/p>\n\u003cp>The real winner was Miss Philippines Pia Alonzo Wurtzbach.\u003c/p>\n\u003cp>Miss Colombia it turns out was the first runner-up.\u003c/p>\n\u003cp>The crown was taken off Arevalo’s head and place on Wurtzbach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Assoicated Press reports that after the live broadcast on Fox, Harvey and an executive for pageant owner WME-IMG, an entertaiment company, called it human error.\u003c/p>\n\u003cp>Harvey is quoted as saying, “Nobody feels worse about this than me.”\u003c/p>\n\u003cp>“I’d like to apologize wholeheartedly to Miss Colombia and Miss Philippines for my huge mistake,” Harvey said on Twitter. “I feel terrible.”\u003c/p>\n\u003cp>Had Arevalo been the winner, Colombia would have won the contest two years in a row.\u003c/p>\n\u003cp>The pageant got attention in June when co-owner Donald Trump made anti-immigrant remarks while announcing his bid to run for the Republican presidential nomination.\u003c/p>\n\u003cp>The other owner was Comcast Corp’s NBCUniversal.\u003c/p>\n\u003cp>Spanish-language network \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"_blank\" rel=\"noopener\">Univision pulled out of a deal \u003c/a>to televise the pageant, and NBC cut ties with Trump.\u003c/p>\n\u003cp>Trump sued and eventually settled with NBC and bought the network’s stake in Miss Universe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Trump later sold Miss Universe, Miss USA and Miss Teen USA pageants to WME-IMG. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. \n\u003cp>To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oops%3A+Wrong+Name+Announced+As+Winner+Of+Miss+Universe+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Characters on television who consider or obtain abortions don't reflect the demographics of American women who choose them or their reasons for doing so, according to an \u003ca href=\"http://www.contraceptionjournal.org/article/S0010-7824%2815%2900675-7/abstract\" target=\"_blank\">analysis\u003c/a> from researchers at UC San Francisco.\u003c/p>\n\u003cp>The group looked at all depictions of abortion on U.S. television shows from 2005 to 2014. This included both network television shows and other distributors, including Netflix and Showtime. They found that women who had abortions were younger, whiter and better off financially than the average American woman who has an abortion.\u003c/p>\n\u003cp>\"It's not that these portrayals are inaccurate. They're going to represent someone's reality,\" said Gretchen Sisson, Ph.D., a research sociologist with the UCSF research group Advancing New Standards in Reproductive Health. \"But in aggregate, they're not reflecting what's really happening in the real world. So what we would like to see is a greater diversity of stories told on television\" about women who seek abortions.\u003c/p>\n\u003cp>Abortion is a common procedure in the United States. About \u003ca href=\"https://www.guttmacher.org/pubs/fb_induced_abortion.html\" target=\"_blank\">a million were performed in 2011,\u003c/a> the most recent year for which statistics were available. Three in 10 women have an abortion by age 45.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/237914010\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Specifically, about a third of the television characters having abortions were under age 20, about a third in their 20s and about a third in their 30s. In reality, nearly 60 percent of women who have abortions are in their 20s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nearly nine in 10 of the fictional characters were white, versus 36 percent in real life. About 30 percent of American women who choose abortions are black and about 25 percent are Latino. Fictional characters were far less likely to be parents -- about 15 percent versus more than 60 percent in real life.\u003c/p>\n\u003cp>\"All these factors work together,\" Sisson said, \"to build an interesting social myth, which is that women who get abortions aren't mothers and they don't want to be mothers. Where we know that the majority of women getting abortions are already parenting and the vast majority intend to parent during their lives.\"\u003c/p>\n\u003cp>In addition to the demographics, dramatic depictions of the reasons for abortion were also not reflective of the reasons real women obtain the procedure. Women on television tended to say they were choosing abortion because having a child would interfere with educational or career plans, what Sisson called \"self-focused\" reasons. In reality, women in real life tend to cite \"other-focused\" reasons. In particular, women will often cite a need to take care of the children they have or that they can't afford another child, Sisson said.\u003c/p>\n\u003cp>\"Taken together, this pattern of reasons can contribute to the construction of abortion as a self-focused decision, and to the belief that abortions are 'wanted' because of personal desires rather than 'needed' because of circumstances such as poverty,\" the researchers wrote about the television characters.\u003c/p>\n\u003cp>Over 40 percent of U.S. women who have abortions are below the federal poverty level, the researchers noted, but on television, 82 percent of characters having abortions were upper or middle class.\u003c/p>\n\u003cp>Sisson said that abortion is a \"stigmatized procedure\" that few people discuss openly. \"So very few people have a context for the reality of abortion care ... so these fictional stories that happen on screen can have greater power to influence perceptions of what that care looks like in real life.\"\u003c/p>\n\u003cp>She cites the fictional character of Claire Underwood, deftly played by Robin Wright in the Emmy-winning \u003cem>House of Cards, \u003c/em>as one example that could mislead viewers about abortion. The affluent character \"lies about the number of and reasons for her abortions, and she has the abortions because she does not want children,\" Sisson points out. \"Additionally, her doctor implies that multiple abortions might lead to infertility — which they don't.\"\u003c/p>\n\u003cp>Depictions that are demographically more realistic, at least in some ways, may have other flaws, Sisson says, but they add some complexity as far as representation of the different kinds of women who choose abortion, and their motivation. Among these, she cites \u003cem>Shameless\u003c/em>, where one character has an abortion because she can't afford a child, or \u003cem>Grey's Anatomy\u003c/em>, which depicts a woman of color in her 30s choosing abortion.\u003c/p>\n\u003cp>In particular, the researchers found that the death rate for women on television who had abortions was about 10 percent. In reality, the actual death rate is merely a fraction of that, \u003ca href=\"http://www.cdc.gov/mmwr/preview/mmwrhtml/ss6108a1.htm\" target=\"_blank\">0.0015 percent according to data from the Centers for Disease Control and Prevention\u003c/a>, more than a 6,000-fold difference.\u003c/p>\n\u003cp>While the study did not look at audience impact -- that analysis is coming, Sisson said -- she theorized that depictions of women choosing abortion may influence policy.\u003c/p>\n\u003cp>\"It's easy to postulate,\" she said, \"if you see a lot of stories where women are changing their mind in the waiting room, then public policies such as waiting periods might make sense. ... If you see a lot of teenagers getting abortion on television, then policies such as parental consent or parental notification laws might make sense.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the analysis of audience impact, Sisson said a review in the coming months will look at television depictions of abortion providers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Characters on television who consider or obtain abortions don't reflect the demographics of American women who choose them or their reasons for doing so, according to an \u003ca href=\"http://www.contraceptionjournal.org/article/S0010-7824%2815%2900675-7/abstract\" target=\"_blank\">analysis\u003c/a> from researchers at UC San Francisco.\u003c/p>\n\u003cp>The group looked at all depictions of abortion on U.S. television shows from 2005 to 2014. This included both network television shows and other distributors, including Netflix and Showtime. They found that women who had abortions were younger, whiter and better off financially than the average American woman who has an abortion.\u003c/p>\n\u003cp>\"It's not that these portrayals are inaccurate. They're going to represent someone's reality,\" said Gretchen Sisson, Ph.D., a research sociologist with the UCSF research group Advancing New Standards in Reproductive Health. \"But in aggregate, they're not reflecting what's really happening in the real world. So what we would like to see is a greater diversity of stories told on television\" about women who seek abortions.\u003c/p>\n\u003cp>Abortion is a common procedure in the United States. About \u003ca href=\"https://www.guttmacher.org/pubs/fb_induced_abortion.html\" target=\"_blank\">a million were performed in 2011,\u003c/a> the most recent year for which statistics were available. Three in 10 women have an abortion by age 45.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/237914010&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/237914010'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Specifically, about a third of the television characters having abortions were under age 20, about a third in their 20s and about a third in their 30s. In reality, nearly 60 percent of women who have abortions are in their 20s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nearly nine in 10 of the fictional characters were white, versus 36 percent in real life. About 30 percent of American women who choose abortions are black and about 25 percent are Latino. Fictional characters were far less likely to be parents -- about 15 percent versus more than 60 percent in real life.\u003c/p>\n\u003cp>\"All these factors work together,\" Sisson said, \"to build an interesting social myth, which is that women who get abortions aren't mothers and they don't want to be mothers. Where we know that the majority of women getting abortions are already parenting and the vast majority intend to parent during their lives.\"\u003c/p>\n\u003cp>In addition to the demographics, dramatic depictions of the reasons for abortion were also not reflective of the reasons real women obtain the procedure. Women on television tended to say they were choosing abortion because having a child would interfere with educational or career plans, what Sisson called \"self-focused\" reasons. In reality, women in real life tend to cite \"other-focused\" reasons. In particular, women will often cite a need to take care of the children they have or that they can't afford another child, Sisson said.\u003c/p>\n\u003cp>\"Taken together, this pattern of reasons can contribute to the construction of abortion as a self-focused decision, and to the belief that abortions are 'wanted' because of personal desires rather than 'needed' because of circumstances such as poverty,\" the researchers wrote about the television characters.\u003c/p>\n\u003cp>Over 40 percent of U.S. women who have abortions are below the federal poverty level, the researchers noted, but on television, 82 percent of characters having abortions were upper or middle class.\u003c/p>\n\u003cp>Sisson said that abortion is a \"stigmatized procedure\" that few people discuss openly. \"So very few people have a context for the reality of abortion care ... so these fictional stories that happen on screen can have greater power to influence perceptions of what that care looks like in real life.\"\u003c/p>\n\u003cp>She cites the fictional character of Claire Underwood, deftly played by Robin Wright in the Emmy-winning \u003cem>House of Cards, \u003c/em>as one example that could mislead viewers about abortion. The affluent character \"lies about the number of and reasons for her abortions, and she has the abortions because she does not want children,\" Sisson points out. \"Additionally, her doctor implies that multiple abortions might lead to infertility — which they don't.\"\u003c/p>\n\u003cp>Depictions that are demographically more realistic, at least in some ways, may have other flaws, Sisson says, but they add some complexity as far as representation of the different kinds of women who choose abortion, and their motivation. Among these, she cites \u003cem>Shameless\u003c/em>, where one character has an abortion because she can't afford a child, or \u003cem>Grey's Anatomy\u003c/em>, which depicts a woman of color in her 30s choosing abortion.\u003c/p>\n\u003cp>In particular, the researchers found that the death rate for women on television who had abortions was about 10 percent. In reality, the actual death rate is merely a fraction of that, \u003ca href=\"http://www.cdc.gov/mmwr/preview/mmwrhtml/ss6108a1.htm\" target=\"_blank\">0.0015 percent according to data from the Centers for Disease Control and Prevention\u003c/a>, more than a 6,000-fold difference.\u003c/p>\n\u003cp>While the study did not look at audience impact -- that analysis is coming, Sisson said -- she theorized that depictions of women choosing abortion may influence policy.\u003c/p>\n\u003cp>\"It's easy to postulate,\" she said, \"if you see a lot of stories where women are changing their mind in the waiting room, then public policies such as waiting periods might make sense. ... If you see a lot of teenagers getting abortion on television, then policies such as parental consent or parental notification laws might make sense.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to the analysis of audience impact, Sisson said a review in the coming months will look at television depictions of abortion providers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"excerpt": "Today is the legendary chef Jacques Pépin's 80th birthday. Celebrate Jacques along with many other celebrity chefs by watching a special Happy Birthday video. See historical photos from his life as well as behind-the-scenes photos from his final television series \u003cem>Jacques Pépin: Heart & Soul\u003c/em>. Then watch a birthday special on KQED 9 the day after Christmas.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"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",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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