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It feels like only yesterday that baby Mary Kate (or maybe it was Ashley) was chilling hard in the back of a convertible cruising across the Bay with John Stamos and co.\u003c/p>\n\u003cp>0:08 - Cable car means that I'm now really craving some Rice-A-Roni. Good work, Rice-A-Roni marketing wizards!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>0:12 - A beautiful view of San Francisco featuring the Painted Ladies! Okay, can we talk? This is not where the \u003cem>Full House\u003c/em> gang lived so stop saying that. They had a picnic here. That's it! (I care too much.)\u003c/p>\n\u003cp>0:17 - Sad music reminiscent of The WB challenges the notion that you can't go home again and the\u003cstrong> real\u003c/strong> \u003cem>Full House\u003c/em> house appears. Maybe you cry or maybe something's just in your eye. No judgment.\u003c/p>\n\u003cp>0:23 - Their kitchen has been remodeled because some interior decorator never heard the aphorism: If it ain't broke, don't fix it.\u003c/p>\n\u003cp>0:24 - The word \"eat\" is painted on the wall, which is a good enough excuse for me to include my favorite Michelle Tanner eats stuff gifs:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/9978d510-e604-0132-c016-0a13eebe068d-1434136546.gif\" rel=\"attachment wp-att-19509\">\u003cimg class=\"aligncenter size-full wp-image-19509\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/9978d510-e604-0132-c016-0a13eebe068d-1434136546.gif\" alt=\"michelle brownies gif\" width=\"245\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/gif5.gif\" rel=\"attachment wp-att-19510\">\u003cimg class=\"aligncenter size-full wp-image-19510\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/gif5.gif\" alt=\"michelle spaghetti\" width=\"245\" height=\"184\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\" rel=\"attachment wp-att-19511\">\u003cimg class=\"aligncenter size-full wp-image-19511\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\" alt=\"michelle tanner gif\" width=\"450\" height=\"304\">\u003c/a>\u003c/p>\n\u003cp>0:25 - There is some kids' artwork hanging. These kids won't be Michelle or Stephanie so I plan to ignore them completely.\u003c/p>\n\u003cp>0:27 - February 26th is the premiere date a.k.a. when our lives change very slightly. Bring it.\u003c/p>\n\u003cp>0:33 - The living room has also been redecorated. A pillow reads \"home.\" This interior decorator is so literal.\u003c/p>\n\u003cp>0:37 - \"Life is full again.\" I mean, it would be fuller if the Olsen twins were involved in this, but okay sure.\u003c/p>\n\u003cp>0:38 - OMG, a baby Golden Retriever!!! Comet's offspring! Actually, I can't handle the idea of Comet being dead. Let's just pretend Michelle became a scientist and figured out how to reverse-age canines. So let's try that again: OMG, a baby \u003cdel>Golden Retriever\u003c/del> and still very vital Comet!!!\u003c/p>\n\u003cp>0:42 - \"Gosh, it feels so good to be back!\" D.J. says from outside. If she's not living here yet, who redecorated? Stephanie's way cooler than this \u003cem>Martha Stewart Home\u003c/em> nonsense. And Kimmie would never. Aunt Becky? Yeah, she would. Glad we settled that.\u003c/p>\n\u003cp>0:44 - \"I'll grab little Tommy,\" Stephanie says from behind the door. In 20 years, little Tommy will decline to participate in \u003cem>Fullest House\u003c/em>.\u003c/p>\n\u003cp>0:46 - \"Max, the hair, huh?\" Uncle Jesse is still not into people touching his hair, which is totally his prerogative. We can't see him, but he's definitely still really hot.\u003c/p>\n\u003cp>0:48 - \"Max, cut. It. Out!\" Uncle Joey is back too! And this Max person sounds like a real problem.\u003c/p>\n\u003cp>0:53 - \"Jackson, can you watch your brother?\" Wow, D.J. was really busy.\u003c/p>\n\u003cp>0:58 - \"D.J., you don't need movers. You got us.\" The series' sugary-sweetness is still intact.\u003c/p>\n\u003cp>1:00 - The door finally opens and fade to black.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hmm. Well, that wasn't really much to go on, but two things are clear: I will definitely be watching in February and I'm really jazzed that Comet is still alive and will never ever die.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>0:12 - A beautiful view of San Francisco featuring the Painted Ladies! Okay, can we talk? This is not where the \u003cem>Full House\u003c/em> gang lived so stop saying that. They had a picnic here. That's it! (I care too much.)\u003c/p>\n\u003cp>0:17 - Sad music reminiscent of The WB challenges the notion that you can't go home again and the\u003cstrong> real\u003c/strong> \u003cem>Full House\u003c/em> house appears. Maybe you cry or maybe something's just in your eye. No judgment.\u003c/p>\n\u003cp>0:23 - Their kitchen has been remodeled because some interior decorator never heard the aphorism: If it ain't broke, don't fix it.\u003c/p>\n\u003cp>0:24 - The word \"eat\" is painted on the wall, which is a good enough excuse for me to include my favorite Michelle Tanner eats stuff gifs:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/9978d510-e604-0132-c016-0a13eebe068d-1434136546.gif\" rel=\"attachment wp-att-19509\">\u003cimg class=\"aligncenter size-full wp-image-19509\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/9978d510-e604-0132-c016-0a13eebe068d-1434136546.gif\" alt=\"michelle brownies gif\" width=\"245\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/gif5.gif\" rel=\"attachment wp-att-19510\">\u003cimg class=\"aligncenter size-full wp-image-19510\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/gif5.gif\" alt=\"michelle spaghetti\" width=\"245\" height=\"184\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\" rel=\"attachment wp-att-19511\">\u003cimg class=\"aligncenter size-full wp-image-19511\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy.gif\" alt=\"michelle tanner gif\" width=\"450\" height=\"304\">\u003c/a>\u003c/p>\n\u003cp>0:25 - There is some kids' artwork hanging. These kids won't be Michelle or Stephanie so I plan to ignore them completely.\u003c/p>\n\u003cp>0:27 - February 26th is the premiere date a.k.a. when our lives change very slightly. Bring it.\u003c/p>\n\u003cp>0:33 - The living room has also been redecorated. A pillow reads \"home.\" This interior decorator is so literal.\u003c/p>\n\u003cp>0:37 - \"Life is full again.\" I mean, it would be fuller if the Olsen twins were involved in this, but okay sure.\u003c/p>\n\u003cp>0:38 - OMG, a baby Golden Retriever!!! Comet's offspring! Actually, I can't handle the idea of Comet being dead. Let's just pretend Michelle became a scientist and figured out how to reverse-age canines. So let's try that again: OMG, a baby \u003cdel>Golden Retriever\u003c/del> and still very vital Comet!!!\u003c/p>\n\u003cp>0:42 - \"Gosh, it feels so good to be back!\" D.J. says from outside. If she's not living here yet, who redecorated? Stephanie's way cooler than this \u003cem>Martha Stewart Home\u003c/em> nonsense. And Kimmie would never. Aunt Becky? Yeah, she would. Glad we settled that.\u003c/p>\n\u003cp>0:44 - \"I'll grab little Tommy,\" Stephanie says from behind the door. In 20 years, little Tommy will decline to participate in \u003cem>Fullest House\u003c/em>.\u003c/p>\n\u003cp>0:46 - \"Max, the hair, huh?\" Uncle Jesse is still not into people touching his hair, which is totally his prerogative. We can't see him, but he's definitely still really hot.\u003c/p>\n\u003cp>0:48 - \"Max, cut. It. Out!\" Uncle Joey is back too! And this Max person sounds like a real problem.\u003c/p>\n\u003cp>0:53 - \"Jackson, can you watch your brother?\" Wow, D.J. was really busy.\u003c/p>\n\u003cp>0:58 - \"D.J., you don't need movers. You got us.\" The series' sugary-sweetness is still intact.\u003c/p>\n\u003cp>1:00 - The door finally opens and fade to black.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hmm. Well, that wasn't really much to go on, but two things are clear: I will definitely be watching in February and I'm really jazzed that Comet is still alive and will never ever die.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian and San Francisco native Margaret Cho is developing a weed-themed “dramedy” for Amazon’s streaming service, \u003ca href=\"http://variety.com/2015/tv/news/amazon-highland-margaret-cho-series-1201661168/\" target=\"_blank\" rel=\"noopener\">\u003ci>Variety\u003c/i> reported Monday\u003c/a>.\u003c/p>\n\u003cp>The show, called \u003ci>Highland,\u003c/i> stars Cho as a struggling addict who must move back in with her family after attending court-ordered rehab and work at their family-run business: a pot dispensary. Cho is also an executive producer on the project along with Tomorrow Studios, and writer Elizabeth Sarnoff (\u003ci>Lost,\u003c/i> \u003ci>Deadwood\u003c/i>) has been listed as showrunner. \u003c/p>\n\u003cp>Cho, born and raised in San Francisco, began her comedy career at the age of 16, working in local clubs before moving to Los Angeles in the early ’90s. She would go on to create \u003ci>All-American Girl,\u003c/i> the first network sitcom about an Asian-American family. The network made 19 episodes before canceling the series in 1995, but that did not stop her TV career: since then, Cho has had \u003ca href=\"http://www.imdb.com/name/nm0158632/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">a few recurring roles on other shows,\u003c/a> and made notable appearances as herself on shows such as \u003ci>The View\u003c/i> and \u003ci>Fashion Police,\u003c/i> among others.\u003c/p>\n\u003cfigure id=\"attachment_11163367\" class=\"wp-caption alignright\" style=\"max-width: 738px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-738x600.jpg\" alt=\"Margaret Cho preparing for her time on Snoop Dog's 4th Annual GGN Thanksgiving Special\" width=\"738\" height=\"600\" class=\"size-medium wp-image-11163367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-738x600.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-960x780.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving.jpg 1024w\" sizes=\"(max-width: 738px) 100vw, 738px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho preparing for her time on Snoop Dog’s 4th Annual GGN Thanksgiving Special \u003ccite>(Courtesy: margaretcho.com/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not only is Cho a fixture on television (as well as a \u003ca href=\"http://margaretcho.com/category/press/\" target=\"_blank\" rel=\"noopener\">hard-working activist\u003c/a>), she is a vocal marijuana user, appearing on pot-heavy shows such as rapper \u003ca href=\"https://www.youtube.com/watch?v=DTcoJC802Zo\" target=\"_blank\" rel=\"noopener\">Snoop Dogg’s Thanksgiving Special\u003c/a> on GGN (“the double G network”), a YouTube channel. \u003c/p>\n\u003cp>Below are some notably entertaining tweets from Cho and how high she gets in her spare time: \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/margaretcho/status/667879266831372288\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/margaretcho/status/667879937869770752\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and San Francisco native Margaret Cho is developing a weed-themed “dramedy” for Amazon’s streaming service, \u003ca href=\"http://variety.com/2015/tv/news/amazon-highland-margaret-cho-series-1201661168/\" target=\"_blank\" rel=\"noopener\">\u003ci>Variety\u003c/i> reported Monday\u003c/a>.\u003c/p>\n\u003cp>The show, called \u003ci>Highland,\u003c/i> stars Cho as a struggling addict who must move back in with her family after attending court-ordered rehab and work at their family-run business: a pot dispensary. Cho is also an executive producer on the project along with Tomorrow Studios, and writer Elizabeth Sarnoff (\u003ci>Lost,\u003c/i> \u003ci>Deadwood\u003c/i>) has been listed as showrunner. \u003c/p>\n\u003cp>Cho, born and raised in San Francisco, began her comedy career at the age of 16, working in local clubs before moving to Los Angeles in the early ’90s. She would go on to create \u003ci>All-American Girl,\u003c/i> the first network sitcom about an Asian-American family. The network made 19 episodes before canceling the series in 1995, but that did not stop her TV career: since then, Cho has had \u003ca href=\"http://www.imdb.com/name/nm0158632/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">a few recurring roles on other shows,\u003c/a> and made notable appearances as herself on shows such as \u003ci>The View\u003c/i> and \u003ci>Fashion Police,\u003c/i> among others.\u003c/p>\n\u003cfigure id=\"attachment_11163367\" class=\"wp-caption alignright\" style=\"max-width: 738px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-738x600.jpg\" alt=\"Margaret Cho preparing for her time on Snoop Dog's 4th Annual GGN Thanksgiving Special\" width=\"738\" height=\"600\" class=\"size-medium wp-image-11163367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-738x600.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving-960x780.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cho-Snoop-Thanksgiving.jpg 1024w\" sizes=\"(max-width: 738px) 100vw, 738px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho preparing for her time on Snoop Dog’s 4th Annual GGN Thanksgiving Special \u003ccite>(Courtesy: margaretcho.com/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not only is Cho a fixture on television (as well as a \u003ca href=\"http://margaretcho.com/category/press/\" target=\"_blank\" rel=\"noopener\">hard-working activist\u003c/a>), she is a vocal marijuana user, appearing on pot-heavy shows such as rapper \u003ca href=\"https://www.youtube.com/watch?v=DTcoJC802Zo\" target=\"_blank\" rel=\"noopener\">Snoop Dogg’s Thanksgiving Special\u003c/a> on GGN (“the double G network”), a YouTube channel. \u003c/p>\n\u003cp>Below are some notably entertaining tweets from Cho and how high she gets in her spare time: \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Carol,' Netflix Lead a Wide-Ranging Golden Globes Field",
"headTitle": "‘Carol,’ Netflix Lead a Wide-Ranging Golden Globes Field | KQED",
"content": "\u003cp>From the sumptuous romance of “Carol” to the apocalyptic rage of “Mad Max: Fury Road,” streaming series to network dramas, Will Smith to Amy Schumer, the 73rd annual Golden Globe nominations unveiled a widespread field of nominations that attempted to corral a chaotic Oscar race and an ever-expanding television landscape.\u003c/p>\n\u003cp>The Hollywood Foreign Press Association swooned hardest for Todd Haynes’ 1950s lesbian tale \u003cem>Carol\u003c/em>, which landed a leading five nominations on Thursday, including best picture, drama. Nods for its two stars, Cate Blanchett and Rooney Mara, as well as for Haynes’ direction, lent a boost to the film’s growing Oscar outlook.\u003c/p>\n\u003cp>But little else was so straightforward in nominations that rewarded the acclaimed newsroom drama \u003cem>Spotlight\u003c/em>, but not its cast; gave Los Gatos-based Netflix a leading eight nominations (plus one for its first original movie); and supplied \u003cem>Creed\u003c/em> co-star Sylvester Stallone his first Globe nomination in 29 years, yet for the same character (Mr. Rocky Balboa).\u003c/p>\n\u003cp>It remains to be seen if an Academy Awards heavyweight will be anywhere to be found at the January 10 Beverly Hills, Calif., ceremony. Such questions should lend drama to the Globes, which will be hosted again by its grinning nemesis, Ricky Gervais.\u003c/p>\n\u003cp>In the season’s crowded field of contenders — and with \u003cem>Star Wars: The Force Awakens\u003c/em> threatening box office obliteration — attention from the Globes was very much welcomed Thursday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The number one reaction to these kinds of nominations is, ‘Oh, thank God. It’ll help the movie get out there,'” said Adam McKay, director of \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>McKay’s starry finance farce was one of the films that surged Thursday. Originally slated for release next year, its late jump into awards season was rewarded with four nominations, including best picture, comedy, and nods for Steve Carell and Christian Bale.\u003c/p>\n\u003cp>Alejandro Inarritu’s follow-up to his Oscar-winning \u003cem>Birdman\u003c/em>, the frontier epic \u003cem>The Revenant\u003c/em>, took four nominations, including best picture, drama, and best actor for Leonardo DiCaprio. A four-time Oscar nominee and one-time Globe winner, DiCaprio is gunning for his first Academy Award.\u003c/p>\n\u003cp>Tied with four is the Aaron Sorkin-scripted box-office disappointment \u003cem>Steve Jobs\u003c/em>. But it failed to join the dramatic best picture nominees, which, along with \u003cem>Carol\u003c/em> and \u003cem>The Revenant\u003c/em>, are: \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Room\u003c/em> and \u003cem>Spotlight\u003c/em>.\u003c/p>\n\u003cp>Streaming series from Netflix, Amazon and Hulu dominated the TV side of the Globes, which scattered nominations across the dial. Six shows tied for the most nominations at three: \u003cem>Fargo\u003c/em>, \u003cem>Mr. Robot\u003c/em>, \u003cem>Outlander\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>American Crime\u003c/em> and \u003cem>Wolf Hall\u003c/em>.\u003c/p>\n\u003cp>Tom McCarthy’s acclaimed Boston Globe drama \u003cem>Spotlight\u003c/em>, arguably the Oscar favorite, took three top nominations, including best director for McCarthy and best screenplay. But its ensemble cast is struggling to stand out from the pack.\u003c/p>\n\u003cp>After the Screen Actors Guild Awards passed over Michael Keaton and Mark Ruffalo on Wednesday, the Globes did, too. (Ruffalo, however, was nominated for his performance as a bipolar father in \u003cem>Infinitely Polar Bear\u003c/em>, and Liev Scheiber for Showtime’s \u003cem>Ray Donovan\u003c/em>.)\u003c/p>\n\u003cp>“They know how good they are and recognize the work of all the other actors,” McCarthy said of his cast. “The best picture nomination really speaks to that. Truthfully, I think all the nominations do. That’s the wonderful thing about actors. They can take a little bit of credit all the way down the line.”\u003c/p>\n\u003cp>Most of the expected contenders came away with something to show from the Globes, including the science-nerd space adventure \u003cem>The Martian\u003c/em>. It was nominated for best picture, comedy, actor (Matt Damon) and director (Ridley Scott).\u003c/p>\n\u003cp>David O. Russell’s matriarch portrait \u003cem>Joy\u003c/em>, won nods for best picture, comedy, and best actress for Jennifer Lawrence, a Globe winner the last two years. The haul for \u003cem>Mad Max\u003c/em> also included a nod for best director for George Miller. The Emma Donoghue adaption \u003cem>Room\u003c/em>, landed one for Brie Larson’s lead performance as a captive mother.\u003c/p>\n\u003cp>Smith, whose upcoming \u003cem>Concussion\u003c/em> has drawn headlines for its depiction of head trauma in football, apparently displaced Johnny Depp (\u003cem>Black Mass\u003c/em>) from the best actor, drama, nominees. The others in the category were Michael Fassbender (\u003cem>Steve Jobs\u003c/em>), Eddie Redmayne (\u003cem>The Danish Girl\u003c/em>) and Bryan Cranston (\u003cem>Trumbo\u003c/em>).\u003c/p>\n\u003cp>Alicia Vikander, the ubiquitous star of 2015, joined the best dramatic actress field for Tom Hooper’s transgender period drama \u003cem>The Danish Girl\u003c/em>, as well as the supporting actress nominees for her performance as an artificial intelligence in the sci-fi indie \u003cem>Ex Machina\u003c/em>.\u003c/p>\n\u003cp>Though some questionable category decisions left less humorous films competing for best comedy or musical, two of comedy’s top stars will crash the party: Melissa McCarthy and Schumer. Both were nominated for best actress in a comedy, and their films — \u003cem>Spy\u003c/em> and \u003cem>Trainwreck\u003c/em>, respectively — will compete for best comedic film.\u003c/p>\n\u003cp>In the best animated film category, the Charlie Kaufman-scripted, stop-motion animated “Anomalisa” slotted in alongside a quartet of more family-friendly releases: \u003cem>Inside Out\u003c/em>, \u003cem>The Good Dinosaur\u003c/em>, \u003cem>The Peanuts Movie\u003c/em> and \u003cem>Shaun the Sheep Movie\u003c/em>.\u003c/p>\n\u003cp>Though younger stars like DiCaprio and Lawrence are the leading acting contenders, a number of esteemed veterans joined the nominations, too. Al Pacino (\u003cem>Danny Collins\u003c/em>), Maggie Smith (\u003cem>The Lady in the Van\u003c/em>), Jane Fonda (\u003cem>Youth\u003c/em>) and Helen Mirslren (\u003cem>Trumbo\u003c/em>) all earned nods.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Lindsey Bahr, Lynn Elber and Derrick Lang contributed to this report from Los Angeles\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the sumptuous romance of “Carol” to the apocalyptic rage of “Mad Max: Fury Road,” streaming series to network dramas, Will Smith to Amy Schumer, the 73rd annual Golden Globe nominations unveiled a widespread field of nominations that attempted to corral a chaotic Oscar race and an ever-expanding television landscape.\u003c/p>\n\u003cp>The Hollywood Foreign Press Association swooned hardest for Todd Haynes’ 1950s lesbian tale \u003cem>Carol\u003c/em>, which landed a leading five nominations on Thursday, including best picture, drama. Nods for its two stars, Cate Blanchett and Rooney Mara, as well as for Haynes’ direction, lent a boost to the film’s growing Oscar outlook.\u003c/p>\n\u003cp>But little else was so straightforward in nominations that rewarded the acclaimed newsroom drama \u003cem>Spotlight\u003c/em>, but not its cast; gave Los Gatos-based Netflix a leading eight nominations (plus one for its first original movie); and supplied \u003cem>Creed\u003c/em> co-star Sylvester Stallone his first Globe nomination in 29 years, yet for the same character (Mr. Rocky Balboa).\u003c/p>\n\u003cp>It remains to be seen if an Academy Awards heavyweight will be anywhere to be found at the January 10 Beverly Hills, Calif., ceremony. Such questions should lend drama to the Globes, which will be hosted again by its grinning nemesis, Ricky Gervais.\u003c/p>\n\u003cp>In the season’s crowded field of contenders — and with \u003cem>Star Wars: The Force Awakens\u003c/em> threatening box office obliteration — attention from the Globes was very much welcomed Thursday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The number one reaction to these kinds of nominations is, ‘Oh, thank God. It’ll help the movie get out there,'” said Adam McKay, director of \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>McKay’s starry finance farce was one of the films that surged Thursday. Originally slated for release next year, its late jump into awards season was rewarded with four nominations, including best picture, comedy, and nods for Steve Carell and Christian Bale.\u003c/p>\n\u003cp>Alejandro Inarritu’s follow-up to his Oscar-winning \u003cem>Birdman\u003c/em>, the frontier epic \u003cem>The Revenant\u003c/em>, took four nominations, including best picture, drama, and best actor for Leonardo DiCaprio. A four-time Oscar nominee and one-time Globe winner, DiCaprio is gunning for his first Academy Award.\u003c/p>\n\u003cp>Tied with four is the Aaron Sorkin-scripted box-office disappointment \u003cem>Steve Jobs\u003c/em>. But it failed to join the dramatic best picture nominees, which, along with \u003cem>Carol\u003c/em> and \u003cem>The Revenant\u003c/em>, are: \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Room\u003c/em> and \u003cem>Spotlight\u003c/em>.\u003c/p>\n\u003cp>Streaming series from Netflix, Amazon and Hulu dominated the TV side of the Globes, which scattered nominations across the dial. Six shows tied for the most nominations at three: \u003cem>Fargo\u003c/em>, \u003cem>Mr. Robot\u003c/em>, \u003cem>Outlander\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>American Crime\u003c/em> and \u003cem>Wolf Hall\u003c/em>.\u003c/p>\n\u003cp>Tom McCarthy’s acclaimed Boston Globe drama \u003cem>Spotlight\u003c/em>, arguably the Oscar favorite, took three top nominations, including best director for McCarthy and best screenplay. But its ensemble cast is struggling to stand out from the pack.\u003c/p>\n\u003cp>After the Screen Actors Guild Awards passed over Michael Keaton and Mark Ruffalo on Wednesday, the Globes did, too. (Ruffalo, however, was nominated for his performance as a bipolar father in \u003cem>Infinitely Polar Bear\u003c/em>, and Liev Scheiber for Showtime’s \u003cem>Ray Donovan\u003c/em>.)\u003c/p>\n\u003cp>“They know how good they are and recognize the work of all the other actors,” McCarthy said of his cast. “The best picture nomination really speaks to that. Truthfully, I think all the nominations do. That’s the wonderful thing about actors. They can take a little bit of credit all the way down the line.”\u003c/p>\n\u003cp>Most of the expected contenders came away with something to show from the Globes, including the science-nerd space adventure \u003cem>The Martian\u003c/em>. It was nominated for best picture, comedy, actor (Matt Damon) and director (Ridley Scott).\u003c/p>\n\u003cp>David O. Russell’s matriarch portrait \u003cem>Joy\u003c/em>, won nods for best picture, comedy, and best actress for Jennifer Lawrence, a Globe winner the last two years. The haul for \u003cem>Mad Max\u003c/em> also included a nod for best director for George Miller. The Emma Donoghue adaption \u003cem>Room\u003c/em>, landed one for Brie Larson’s lead performance as a captive mother.\u003c/p>\n\u003cp>Smith, whose upcoming \u003cem>Concussion\u003c/em> has drawn headlines for its depiction of head trauma in football, apparently displaced Johnny Depp (\u003cem>Black Mass\u003c/em>) from the best actor, drama, nominees. The others in the category were Michael Fassbender (\u003cem>Steve Jobs\u003c/em>), Eddie Redmayne (\u003cem>The Danish Girl\u003c/em>) and Bryan Cranston (\u003cem>Trumbo\u003c/em>).\u003c/p>\n\u003cp>Alicia Vikander, the ubiquitous star of 2015, joined the best dramatic actress field for Tom Hooper’s transgender period drama \u003cem>The Danish Girl\u003c/em>, as well as the supporting actress nominees for her performance as an artificial intelligence in the sci-fi indie \u003cem>Ex Machina\u003c/em>.\u003c/p>\n\u003cp>Though some questionable category decisions left less humorous films competing for best comedy or musical, two of comedy’s top stars will crash the party: Melissa McCarthy and Schumer. Both were nominated for best actress in a comedy, and their films — \u003cem>Spy\u003c/em> and \u003cem>Trainwreck\u003c/em>, respectively — will compete for best comedic film.\u003c/p>\n\u003cp>In the best animated film category, the Charlie Kaufman-scripted, stop-motion animated “Anomalisa” slotted in alongside a quartet of more family-friendly releases: \u003cem>Inside Out\u003c/em>, \u003cem>The Good Dinosaur\u003c/em>, \u003cem>The Peanuts Movie\u003c/em> and \u003cem>Shaun the Sheep Movie\u003c/em>.\u003c/p>\n\u003cp>Though younger stars like DiCaprio and Lawrence are the leading acting contenders, a number of esteemed veterans joined the nominations, too. Al Pacino (\u003cem>Danny Collins\u003c/em>), Maggie Smith (\u003cem>The Lady in the Van\u003c/em>), Jane Fonda (\u003cem>Youth\u003c/em>) and Helen Mirslren (\u003cem>Trumbo\u003c/em>) all earned nods.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Lindsey Bahr, Lynn Elber and Derrick Lang contributed to this report from Los Angeles\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Christmas Commercials Make Us Cry",
"title": "Why Christmas Commercials Make Us Cry",
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"content": "\u003cp>Chances are you’ve already seen a fair share of Christmas commercials this year -- and many of them weren’t sandwiched into 30-second spots during a \u003cem>Law & Order: SVU \u003c/em>marathon. The first Christmas spots of the season were popping up on the Internet well before Thanksgiving, and then rolled out across Facebook, many with captions close to (if not in fact): “Ooo I got the feels.”\u003c/p>\n\u003cp>In other words: If you found yourself looking for Kleenex about 45 seconds into a two-minute ad -- either the lonely man on the moon, or children that set up a Christmas tree for a sad neighbor, or a cat that tries to save a family’s holiday -- you're not alone. Especially if you watched a sad commercial, found yourself teary-eyed, and then, when the ad was over, you too shared it on Facebook or Twitter.\u003c/p>\n\u003cfigure id=\"attachment_19334\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap.png\">\u003cimg class=\"size-thumbnail wp-image-19334\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap-400x241.png\" alt=\"John Lewis' "man on the moon" tearjerker. \" width=\"400\" height=\"241\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap-400x241.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap.png 736w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lewis' \"man on the moon\" tearjerker.\u003c/figcaption>\u003c/figure>\n\u003cp>But why do we find these tearjerkers so irresistible? Why isn’t anyone sharing the \u003ca href=\"https://www.youtube.com/watch?v=718DpmQrPbg\" target=\"_blank\">classic commercial of Santa on his Norelco-razor sled?\u003c/a> Or Folger’s commercial of \u003ca href=\"https://www.youtube.com/watch?v=I4kNl7cQdcU\" target=\"_blank\">Peter coming home for Christmas?\u003c/a> And why have advertisers moved away from ads of good tidings and towards a cryfest?\u003c/p>\n\u003cp>Turns out advertisers \u003cem>want\u003c/em> to make you cry -- sadness sells, and it sells a lot. In fact, it even has its own term: sadvertising. A quick Google search turns up over half a million results for sadvertising, which \u003ca href=\"https://www.techopedia.com/definition/30252/sadvertising\" target=\"_blank\">Technopedia defines\u003c/a> as “using a certain set of strategies to play on people's emotions and touch off feelings of sadness, melancholy or wistfulness,” in order to make a beeline to your heart strings, and in turn your purse strings.\u003c/p>\n\u003cp>But why do tears equal dollars?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When neuroeconomist \u003ca href=\"http://www.fastcompany.com/3027699/how-our-brains-decide-what-we-share-online\" target=\"_blank\">Paul Zak conducted a study\u003c/a> where he showed a sad video of a father and son and then looked at the viewer’s brain, \u003ca href=\"http://(http://www.plosone.org/article/fetchObject.action?uri=info%3Adoi%2F10.1371%2Fjournal.pone.0001128&representation=PDF\" target=\"_blank\">he discovered two neurochemicals\u003c/a> were being produced: “As [the viewers] experienced the story, the participants produced cortisol, known as the \"stress hormone” [which made them pay attention]; and oxytocin, a hormone that promotes connection and empathy.” And it’s particularly this release of oxytocin that advertisers take note of; the study goes on to state “oxytocin’s ability to help us create understanding and empathy may also make us more generous and trusting.” This translates into trusting the brand that causes a rise in your oxytocin levels, and in turn you give them your money.\u003c/p>\n\u003cfigure id=\"attachment_19335\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/maxresdefault.jpg\">\u003cimg class=\"size-thumbnail wp-image-19335\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/maxresdefault-400x225.jpg\" alt=\"Does this sad cat make you want to shop at Sainsbury's?\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-960x540.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Does this sad cat make you want to shop at Sainsbury's?\u003c/figcaption>\u003c/figure>\n\u003cp>Now, what about the ends of these sadvertisements? The man doesn’t stay lonely on the moon, the children do cheer up the sad neighbor, and the cat does save a family’s holiday. You’re left with feelings of hope, joy, cheer -- and other Christmas-like emotions. And that’s on purpose too.\u003c/p>\n\u003cp>Jonah Berger, a professor at the University of Pennsylvania, is an expert on why things go viral, and the author of \u003cem>Contagious: Why Things Catch On. \u003c/em>He shared this discovery in \u003ca href=\"http://www.huffingtonpost.com/arianna-huffington/jonah-berger-contagious-why-things-catch-on_b_6656058.html\" target=\"_blank\">a Q&A with the Huffington Post\u003c/a>: “The more positive a news story is, the more likely it is to be shared. Certain negative emotions like anger or anxiety also increase sharing, but overall, positive things are more likely to be shared.” So now the advertisers have invoked two powerful emotions from you: sadness and happiness, where your sorrow builds a positive brand identity, and your rise of happiness at the end of the commercial makes you want to share it with others.\u003c/p>\n\u003cp>If you’ve managed to escape the sadvertisements this season, Eonline has compiled \u003ca href=\"http://www.eonline.com/news/720702/8-emotional-holiday-ads-that-are-making-us-cry-right-now\" target=\"_blank\">a list of their eight favorites\u003c/a>. But it’s really all about the granddaddy of them all: John Lewis, a British department store that’s been trying to make you cry since 2007.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wuz2ILq4UeA\u003c/p>\n\u003cp>They’ve really outdone themselves this year, tying together everything that makes someone cry: a lonely elderly man, a child with a pure heart and determination to make his day better, and of course, the perfect soundtrack to set off the entire thing with a sense of melancholy tinged with hope -- and all in two minutes and 10 seconds. Quite a feat. And it has over 20 million views on YouTube, so it’s obviously working.\u003c/p>\n\u003cp>The trend shows signs of spreading beyond the holidays, too: Remember the \u003ca href=\"http://(https://www.youtube.com/watch?v=xAsjRRMMg_Q\" target=\"_blank\">tearjerker Budweiser commercial of Super Bowl 2015\u003c/a>, where the puppy goes on a quest to find his long-lost Clydesdale friend? The next day everyone from your coworkers to the TODAY Show was talking about the ad.\u003c/p>\n\u003cp>As the advertising market continues to compete for the attention of viewers across a multitude of visual platforms, and each try to stand out from the pack, it’s likely the competition to make you cry the hardest won’t be going away anytime soon.\u003c/p>\n\u003cp>So -- next time you see someone share a clip with “Ooo I got the feels,” think about if those two minutes are worth the extra time it'll take you to break out the Kleenex. If not? Keep scrolling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you’ve already seen a fair share of Christmas commercials this year -- and many of them weren’t sandwiched into 30-second spots during a \u003cem>Law & Order: SVU \u003c/em>marathon. The first Christmas spots of the season were popping up on the Internet well before Thanksgiving, and then rolled out across Facebook, many with captions close to (if not in fact): “Ooo I got the feels.”\u003c/p>\n\u003cp>In other words: If you found yourself looking for Kleenex about 45 seconds into a two-minute ad -- either the lonely man on the moon, or children that set up a Christmas tree for a sad neighbor, or a cat that tries to save a family’s holiday -- you're not alone. Especially if you watched a sad commercial, found yourself teary-eyed, and then, when the ad was over, you too shared it on Facebook or Twitter.\u003c/p>\n\u003cfigure id=\"attachment_19334\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap.png\">\u003cimg class=\"size-thumbnail wp-image-19334\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap-400x241.png\" alt=\"John Lewis' "man on the moon" tearjerker. \" width=\"400\" height=\"241\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap-400x241.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/john-lewis-christmas-advert-2015-screencap.png 736w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lewis' \"man on the moon\" tearjerker.\u003c/figcaption>\u003c/figure>\n\u003cp>But why do we find these tearjerkers so irresistible? Why isn’t anyone sharing the \u003ca href=\"https://www.youtube.com/watch?v=718DpmQrPbg\" target=\"_blank\">classic commercial of Santa on his Norelco-razor sled?\u003c/a> Or Folger’s commercial of \u003ca href=\"https://www.youtube.com/watch?v=I4kNl7cQdcU\" target=\"_blank\">Peter coming home for Christmas?\u003c/a> And why have advertisers moved away from ads of good tidings and towards a cryfest?\u003c/p>\n\u003cp>Turns out advertisers \u003cem>want\u003c/em> to make you cry -- sadness sells, and it sells a lot. In fact, it even has its own term: sadvertising. A quick Google search turns up over half a million results for sadvertising, which \u003ca href=\"https://www.techopedia.com/definition/30252/sadvertising\" target=\"_blank\">Technopedia defines\u003c/a> as “using a certain set of strategies to play on people's emotions and touch off feelings of sadness, melancholy or wistfulness,” in order to make a beeline to your heart strings, and in turn your purse strings.\u003c/p>\n\u003cp>But why do tears equal dollars?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When neuroeconomist \u003ca href=\"http://www.fastcompany.com/3027699/how-our-brains-decide-what-we-share-online\" target=\"_blank\">Paul Zak conducted a study\u003c/a> where he showed a sad video of a father and son and then looked at the viewer’s brain, \u003ca href=\"http://(http://www.plosone.org/article/fetchObject.action?uri=info%3Adoi%2F10.1371%2Fjournal.pone.0001128&representation=PDF\" target=\"_blank\">he discovered two neurochemicals\u003c/a> were being produced: “As [the viewers] experienced the story, the participants produced cortisol, known as the \"stress hormone” [which made them pay attention]; and oxytocin, a hormone that promotes connection and empathy.” And it’s particularly this release of oxytocin that advertisers take note of; the study goes on to state “oxytocin’s ability to help us create understanding and empathy may also make us more generous and trusting.” This translates into trusting the brand that causes a rise in your oxytocin levels, and in turn you give them your money.\u003c/p>\n\u003cfigure id=\"attachment_19335\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/maxresdefault.jpg\">\u003cimg class=\"size-thumbnail wp-image-19335\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/maxresdefault-400x225.jpg\" alt=\"Does this sad cat make you want to shop at Sainsbury's?\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/12/maxresdefault-960x540.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Does this sad cat make you want to shop at Sainsbury's?\u003c/figcaption>\u003c/figure>\n\u003cp>Now, what about the ends of these sadvertisements? The man doesn’t stay lonely on the moon, the children do cheer up the sad neighbor, and the cat does save a family’s holiday. You’re left with feelings of hope, joy, cheer -- and other Christmas-like emotions. And that’s on purpose too.\u003c/p>\n\u003cp>Jonah Berger, a professor at the University of Pennsylvania, is an expert on why things go viral, and the author of \u003cem>Contagious: Why Things Catch On. \u003c/em>He shared this discovery in \u003ca href=\"http://www.huffingtonpost.com/arianna-huffington/jonah-berger-contagious-why-things-catch-on_b_6656058.html\" target=\"_blank\">a Q&A with the Huffington Post\u003c/a>: “The more positive a news story is, the more likely it is to be shared. Certain negative emotions like anger or anxiety also increase sharing, but overall, positive things are more likely to be shared.” So now the advertisers have invoked two powerful emotions from you: sadness and happiness, where your sorrow builds a positive brand identity, and your rise of happiness at the end of the commercial makes you want to share it with others.\u003c/p>\n\u003cp>If you’ve managed to escape the sadvertisements this season, Eonline has compiled \u003ca href=\"http://www.eonline.com/news/720702/8-emotional-holiday-ads-that-are-making-us-cry-right-now\" target=\"_blank\">a list of their eight favorites\u003c/a>. But it’s really all about the granddaddy of them all: John Lewis, a British department store that’s been trying to make you cry since 2007.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wuz2ILq4UeA'\n title='//www.youtube.com/embed/wuz2ILq4UeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’ve really outdone themselves this year, tying together everything that makes someone cry: a lonely elderly man, a child with a pure heart and determination to make his day better, and of course, the perfect soundtrack to set off the entire thing with a sense of melancholy tinged with hope -- and all in two minutes and 10 seconds. Quite a feat. And it has over 20 million views on YouTube, so it’s obviously working.\u003c/p>\n\u003cp>The trend shows signs of spreading beyond the holidays, too: Remember the \u003ca href=\"http://(https://www.youtube.com/watch?v=xAsjRRMMg_Q\" target=\"_blank\">tearjerker Budweiser commercial of Super Bowl 2015\u003c/a>, where the puppy goes on a quest to find his long-lost Clydesdale friend? The next day everyone from your coworkers to the TODAY Show was talking about the ad.\u003c/p>\n\u003cp>As the advertising market continues to compete for the attention of viewers across a multitude of visual platforms, and each try to stand out from the pack, it’s likely the competition to make you cry the hardest won’t be going away anytime soon.\u003c/p>\n\u003cp>So -- next time you see someone share a clip with “Ooo I got the feels,” think about if those two minutes are worth the extra time it'll take you to break out the Kleenex. If not? Keep scrolling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>[contextly_sidebar id=”Xb1zRVabgdx7TjqNYtpKpOUNoGELDhGD”]\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>MST3K\u003c/em> superfans: This is not a drill.\u003c/p>\n\u003cp>Joel Hodgson, aka the founder and better of the two hosts (\u003ca href=\"http://www.mst3kinfo.com/history/page9.html\" target=\"_blank\">wanna fight about it?\u003c/a>) of the beloved terrible movie and riffing-based comedy show \u003cem>Mystery Science Theater 3000\u003c/em>, sent a missive out into the universe yesterday, Nov. 10, by way of a \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\">Kickstarter\u003c/a>: If we raise $2,000,000, he says, we get our beloved \u003cem>MST3K\u003c/em> back on the air, in some form, for the first time since the show was canceled in 1999. He even gets kind of zen in his reasoning:\u003c/p>\n\u003cblockquote>\u003cp>\u003cb>MST3K is more than just movie riffing. \u003c/b>It's a stranger and denser recipe than just saying smart aleck things to a forgotten movie, but I think this is the secret ingredient: we believed that it's easiest to survive the cheesy movie that we're living in with friends who keep us from taking it all too seriously.\u003c/p>\n\u003cp>Now, I don’t want to get too maudlin about it, because being too serious is the enemy of comedy. We weren't trying to send a message: job #1 was always to make a funny show. But while we were doing that, I hope we also helped show the kids that society, and the stupid things we say and do to each other, are \"just a show, and you should really just relax.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k/widget/video.html\" width=\"640\" height=\"480\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.reddit.com/r/IAmA/comments/3sbhp7/iam_joel_hodgson_of_mystery_science_theater_3000/\" target=\"_blank\">Hodgson went on to do a Reddit AMA\u003c/a> in the afternoon in which he answered enough questions to occupy, you know, a guy stuck on a fictional planet for an undetermined amount of time. Questions such as: Will the cast be the same? (No. And sources say Joel/Mike will be Jonah Ray.)\u003c/p>\n\u003cp>In any event, the fundraiser has already garnered more than\u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\"> half its goal\u003c/a> just 24 hours after launching. No, I do not care to disclose what percentage of that was donated by me. Suffice it to say this is the only '90s reboot to date that has me genuinely optimistic for something great. Meanwhile, over at the Atlantic, Megan Garber testifies as to \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/11/the-triumphant-return-of-mystery-science-theater-3000/415323/\" target=\"_blank\">why the show always belonged in this era to begin with\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We'll be keeping tabs on which network or online platform bites, as Hodgson says he hasn't exactly figured out particulars of, you know, actually releasing new episodes.\u003c/p>\n\u003cp>While we wait, though, All of \u003cem>Manos: The Hands of Fate\u003c/em> is on YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yNBYuReUSyQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>MST3K\u003c/em> superfans: This is not a drill.\u003c/p>\n\u003cp>Joel Hodgson, aka the founder and better of the two hosts (\u003ca href=\"http://www.mst3kinfo.com/history/page9.html\" target=\"_blank\">wanna fight about it?\u003c/a>) of the beloved terrible movie and riffing-based comedy show \u003cem>Mystery Science Theater 3000\u003c/em>, sent a missive out into the universe yesterday, Nov. 10, by way of a \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\">Kickstarter\u003c/a>: If we raise $2,000,000, he says, we get our beloved \u003cem>MST3K\u003c/em> back on the air, in some form, for the first time since the show was canceled in 1999. He even gets kind of zen in his reasoning:\u003c/p>\n\u003cblockquote>\u003cp>\u003cb>MST3K is more than just movie riffing. \u003c/b>It's a stranger and denser recipe than just saying smart aleck things to a forgotten movie, but I think this is the secret ingredient: we believed that it's easiest to survive the cheesy movie that we're living in with friends who keep us from taking it all too seriously.\u003c/p>\n\u003cp>Now, I don’t want to get too maudlin about it, because being too serious is the enemy of comedy. We weren't trying to send a message: job #1 was always to make a funny show. But while we were doing that, I hope we also helped show the kids that society, and the stupid things we say and do to each other, are \"just a show, and you should really just relax.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k/widget/video.html\" width=\"640\" height=\"480\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.reddit.com/r/IAmA/comments/3sbhp7/iam_joel_hodgson_of_mystery_science_theater_3000/\" target=\"_blank\">Hodgson went on to do a Reddit AMA\u003c/a> in the afternoon in which he answered enough questions to occupy, you know, a guy stuck on a fictional planet for an undetermined amount of time. Questions such as: Will the cast be the same? (No. And sources say Joel/Mike will be Jonah Ray.)\u003c/p>\n\u003cp>In any event, the fundraiser has already garnered more than\u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\"> half its goal\u003c/a> just 24 hours after launching. No, I do not care to disclose what percentage of that was donated by me. Suffice it to say this is the only '90s reboot to date that has me genuinely optimistic for something great. Meanwhile, over at the Atlantic, Megan Garber testifies as to \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/11/the-triumphant-return-of-mystery-science-theater-3000/415323/\" target=\"_blank\">why the show always belonged in this era to begin with\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Sanjay and Craig' Co-Creator Jay Howell on Zines, 'Bob's Burgers' and Being Too Gross For Nickelodeon",
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"headTitle": "‘Sanjay and Craig’ Co-Creator Jay Howell on Zines, ‘Bob’s Burgers’ and Being Too Gross For Nickelodeon | KQED",
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"content": "\u003cp>Babes, blood, and boners — it reads like the “B” section in a book of teenage boys’ favorite things. But for cartoonist Jason “Jay” Howell, they’re artistic muses, and thanks to their inspiration over the past two decades, he’s now a successful animator whose work is seen by millions every day on the popular Nickelodeon series \u003cem>Sanjay and Craig, \u003c/em>currently in its third season.\u003c/p>\n\u003cp>Howell, 40, says he always wanted to be an artist. But when he started drawing as a kid, technique was not a priority: he had a lot of ideas, and he just needed to draw them fast. He cranked out dozens of zines and short films as a young adult, always laughing at what he made — be they naughty pen-and-ink drawings or in-depth comics about a Black Metal singer getting lost at sea.\u003c/p>\n\u003cfigure id=\"attachment_11067675\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg\" alt=\"Jason 'Jay' Howell and beloved companion.\" width=\"526\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-400x457.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg 960w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason ‘Jay’ Howell and beloved companion. \u003ccite>(Photo: Jay Howell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those manic bursts of immaturity put to paper would garner him one very important fan in Loren Bouchard, the creator of successful cartoons for adults such as \u003ci>Home Movies\u003c/i> and \u003ci>Dr. Katz.\u003c/i> Bouchard hired Howell to design the characters for what would become a hit series on the Fox Network, \u003ci>Bob’s Burgers.\u003c/i> Not long after, Nickelodeon executives approached Howell and his creative partner Jim Dirschberger and asked them to pitch a children’s cartoon to the network. The result, \u003cem>Sanjay and Craig, \u003c/em>follows a 12-year-old boy and his anthropomorphic pet snake; the show has received overwhelmingly positive reviews since its premiere in 2013.\u003c/p>\n\u003cp>But Howell hasn’t forgotten his first loves. Recently, many of the zines he published were collected and released in anthology by Last Gasp publications called \u003ci>Punks Git Cut \u003c/i>(a name he often used for his self-published creations). Howell, a one-time San Franciscan, makes a victory lap through his old home on Thursday, Nov. 12, when he appears at a book signing party at 111 Minna Gallery.\u003c/p>\n\u003cp>Between reminiscing about punk bands of yore, we asked Howell (now a Los Angeles resident) a few questions about his path from zines to cable TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How did your style of drawing come about?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067674\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\" alt='\"Here are my dogs\" by Jay Howell' width=\"748\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk-400x318.jpg 400w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Here are my Dogs’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was afraid for a long time when I was younger that I wasn’t a good enough artist. But I always wanted to do little comics and draw little funny things, and when I got older and out of school I realized you don’t have to be the best technical artist; you can just have good ideas. At the time, there were a lot of skaters and zine-makers that I got turned on to, and though their art might not have been the best, they were telling cool stories and putting themselves out there. It made me realize that I could go on and show my stuff. I could have my own unique voice.\u003c/p>\n\u003cp>I found a \u003ca href=\"http://www.davidshrigley.com/\" target=\"_blank\" rel=\"noopener\">David Shirgley \u003c/a> book at the Museum of Modern Art when I was younger and I realized I was doing what he was doing, but way worse. But he was in the Museum of Modern art and he made these crude drawings that were really funny.\u003c/p>\n\u003cp>\u003cb>What were the zines that influenced you?\u003c/b>\u003c/p>\n\u003cp>I really liked \u003ci>Cometbus\u003c/i>, which was made by a guy named Aaron Cometbus, who was from the Bay Area. He was putting out professional-style books years ago and I thought, “If this punk kid could do this…”\u003c/p>\n\u003cp>There was also a woman from New Hampshire named Lisa “Suckdog” and she put out a zine called \u003ci>Rollerderby\u003c/i> that was really influential on me. She was just nasty and funny and did whatever the hell she wanted.\u003c/p>\n\u003cp>\u003cb>What is so inspiring about \u003ca href=\"https://www.google.com/search?q=jay+howell+harlequin+books&tbm=isch&tbo=u&source=univ&sa=X&ved=0CCAQsARqFQoTCI621_i0hMkCFRPuYwodP2QMKQ&biw=1056&bih=669\" target=\"_blank\" rel=\"noopener\">Harlequin Books\u003c/a>?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067974\" class=\"wp-caption alignright\" style=\"max-width: 611px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067974\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\" alt=\"'Savage Sanctuary' by JAy Howell\" width=\"611\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-369x600.jpg 369w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Savage Sanctuary’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>Essentially once I draw on a page, I can pretend I was a part of finishing something bigger. Of course I know it’s not true, but I like that feeling of adding to something that been completed.\u003c/p>\n\u003cp>But with Harlequin books, it’s the titles; those titles are ridiculous. I probably have 1,600 over those things — you can buy 300 at a time for like $30 on eBay. But the titles are so funny, it’s like they speak to me. And there are so many of them. I never read any, but right away I thought they were beautiful. After I started adding to them, I wanted to do a lot more. I’ve done hundreds of those.\u003c/p>\n\u003cp>But the paper is really fragile, so I’ve had to add a clear coat first so it could be painted on and still hold together. I’ve had to buy multiples of every book. I’d search them out — if I found a good title and I f*cked it up, I tried to find three more of the same one, just so I’d have it. But those titles would never not be funny.\u003c/p>\n\u003cp>\u003cb>You met Loren Bouchard while you were working at Atlas Cafe in San Francisco. How did that happen?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067873\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg\" alt=\"Early drawings of Linda from 'Bob's Burgers'\" width=\"436\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-400x550.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg 576w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early drawings of Linda from ‘Bob’s Burgers.’ \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He had a studio just around the corner, and he’d come in every morning and order coffee. And someone said, “Hey, that’s the guy that did \u003ci>Home Movies\u003c/i>,” and I was like, “Those shows rule and I have to meet that guy.” Someone introduced me and it was very casual, and he became one of my regulars. He’d come in and I’d show him my new zine or whatever, and he was always excited and would talk to me about art because he’s such a cool dude.\u003c/p>\n\u003cp>Then he started coming to my art shows and watching animations, and then one day he asked if I wanted to come work on something, because he had an idea for a family restaurant show. It just spiraled from that moment on into a life in cartoons.\u003c/p>\n\u003cp>\u003cb>How did the show \u003ci>Sanjay and Craig\u003c/i> come together?\u003c/b>\u003c/p>\n\u003cp>My partner since 2006, Jim Dirschberger, and I were really into G.G Allin and punk sh*t, biker gangs, horror movies and stuff like that. We really like the f*cked up stuff in life.\u003c/p>\n\u003cfigure id=\"attachment_11067670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\" alt='\"Rosewolf\" by Jay Howell' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Rosewolf’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Nickelodeon contacted us, telling us that they really liked our work and asking if we ever wanted to pitch a kids’ show. At first we said, “No!” [Laughs] It was like they were handing us our dream job but we’d have to do it in a way we’d never tried before.\u003c/p>\n\u003cp>But I’m an opportunist and I like to challenge myself. They gave me this opportunity to do something and it seemed fun so we went with it and it really worked out.\u003c/p>\n\u003cp>\u003cb>You love dogs. Why a snake for the main character and not a dog?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067972\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\" alt=\"'Leave Us Alone' by Jay Howell\" width=\"450\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-388x600.jpg 388w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Leave Us Alone’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>The idea came from a zine I wrote called \u003ci>Sanjay and Craig\u003c/i> about a snake charmer and a snake in India who f*ck around and date girls and get drunk together. It was this funny little buddy story and I probably made a couple hundred copies of this zine.\u003c/p>\n\u003cp>When we were thinking of ideas of what the TV show could be and I said, “What about this show, but with a boy and a snake instead of a man and a snake?” It was the only idea we really had for a kids’ show.\u003c/p>\n\u003cp>\u003cb>That zine isn’t in your anthology, is it?\u003c/b>\u003c/p>\n\u003cp>Nah, it’s not. I think I forgot. [Laughs]\u003c/p>\n\u003cp>\u003cb>Have you run into any resistance with the network over your ideas? I mean, one of the first episodes of \u003ci>Sanjay and Craig\u003c/i> is about \u003ca href=\"http://www.sfgate.com/tv/article/Sanjay-and-Craig-review-Hysssterical-4536182.php\" target=\"_blank\" rel=\"noopener\">a butt transplant\u003c/a>.\u003c/b>\u003c/p>\n\u003cp>I was just talking about that with Chris Hardwick and Maulik Pancholy (the voices of “Craig” and “Sanjay”). They were telling me that I had done some “f*cked up stuff” on the show and we were like, “Yeah, we have!” [Laughs]\u003c/p>\n\u003cp>We’ve gotten in trouble before. They’ve told us that we were being too gross and needed to pull back a little bit. But Nickelodeon has been really easy to work with. They know we’re this wild show, and people like it like that, so we haven’t had many problems. Maybe at first, when we were trying to find the voice of the show, we had arguments with the network. But other than that it’s been easy sailing.\u003c/p>\n\u003cp>I think Nickelodeon has had a lot of success with shows like \u003ci>Ren and Stimpy\u003c/i>, \u003cem>[The Adventures of] Pete and Pete\u003c/em> and other off-the-cuff kind of alternative things. I think our show was Nickelodeon seeing if that kind of thing could work again. They were like, “Let’s make something that people will pay attention to right away, so you can go for it.” So we thought “butt transplants, that’s hilarious.” (“Brett Venom M.D.,” about “the world’s first butt transplant,” was the first episode of \u003ci>Sanjay and Craig\u003c/i>.)\u003c/p>\n\u003cp>\u003cb>Do you see yourself ever doing more of an adult-themed, Adult Swim-style cartoon?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067973\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\" alt='\"Gucci Blooms\" by Jay Howell' width=\"720\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-400x480.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-500x600.jpg 500w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Gucci Blooms” by Jay Howell\u003c/figcaption>\u003c/figure>\n\u003cp>I can only allude to this, but my partner and I have another deal with another network, and it’s going to be an adult cartoon. It’s going to be punk as f*ck. It’s going to be \u003ci>South Park\u003c/i> bad. We attached an insane Hollywood actor to the project and it’s going to be bananas.\u003c/p>\n\u003cp>\u003cb>Did you ever think when you started drawing zines that it would turn into a career?\u003c/b>\u003c/p>\n\u003cp>I really rolled the dice with my life. I’m 40 now and when I was 18, I was committed to being an artist but I didn’t have any clue how it was going to work, at all. I’m kind of a clueless dude. I knew my art was narrative and I liked drawing cartoons, but I never thought I’d get to this point.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cb>Punks Git Cut\u003c/b> Book Release Party at 111 Minna Gallery in San Francisco is on Thursday, Nov. 12 at 6pm. Go to the \u003ca href=\"https://www.facebook.com/events/1504795093168830/\" target=\"_blank\" rel=\"noopener\">event page on Facebook\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"title": "'Sanjay and Craig' Co-Creator Jay Howell on Zines, 'Bob's Burgers' and Being Too Gross For Nickelodeon | KQED",
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"headline": "'Sanjay and Craig' Co-Creator Jay Howell on Zines, 'Bob's Burgers' and Being Too Gross For Nickelodeon",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Babes, blood, and boners — it reads like the “B” section in a book of teenage boys’ favorite things. But for cartoonist Jason “Jay” Howell, they’re artistic muses, and thanks to their inspiration over the past two decades, he’s now a successful animator whose work is seen by millions every day on the popular Nickelodeon series \u003cem>Sanjay and Craig, \u003c/em>currently in its third season.\u003c/p>\n\u003cp>Howell, 40, says he always wanted to be an artist. But when he started drawing as a kid, technique was not a priority: he had a lot of ideas, and he just needed to draw them fast. He cranked out dozens of zines and short films as a young adult, always laughing at what he made — be they naughty pen-and-ink drawings or in-depth comics about a Black Metal singer getting lost at sea.\u003c/p>\n\u003cfigure id=\"attachment_11067675\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg\" alt=\"Jason 'Jay' Howell and beloved companion.\" width=\"526\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-400x457.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg 960w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason ‘Jay’ Howell and beloved companion. \u003ccite>(Photo: Jay Howell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those manic bursts of immaturity put to paper would garner him one very important fan in Loren Bouchard, the creator of successful cartoons for adults such as \u003ci>Home Movies\u003c/i> and \u003ci>Dr. Katz.\u003c/i> Bouchard hired Howell to design the characters for what would become a hit series on the Fox Network, \u003ci>Bob’s Burgers.\u003c/i> Not long after, Nickelodeon executives approached Howell and his creative partner Jim Dirschberger and asked them to pitch a children’s cartoon to the network. The result, \u003cem>Sanjay and Craig, \u003c/em>follows a 12-year-old boy and his anthropomorphic pet snake; the show has received overwhelmingly positive reviews since its premiere in 2013.\u003c/p>\n\u003cp>But Howell hasn’t forgotten his first loves. Recently, many of the zines he published were collected and released in anthology by Last Gasp publications called \u003ci>Punks Git Cut \u003c/i>(a name he often used for his self-published creations). Howell, a one-time San Franciscan, makes a victory lap through his old home on Thursday, Nov. 12, when he appears at a book signing party at 111 Minna Gallery.\u003c/p>\n\u003cp>Between reminiscing about punk bands of yore, we asked Howell (now a Los Angeles resident) a few questions about his path from zines to cable TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How did your style of drawing come about?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067674\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\" alt='\"Here are my dogs\" by Jay Howell' width=\"748\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk-400x318.jpg 400w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Here are my Dogs’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was afraid for a long time when I was younger that I wasn’t a good enough artist. But I always wanted to do little comics and draw little funny things, and when I got older and out of school I realized you don’t have to be the best technical artist; you can just have good ideas. At the time, there were a lot of skaters and zine-makers that I got turned on to, and though their art might not have been the best, they were telling cool stories and putting themselves out there. It made me realize that I could go on and show my stuff. I could have my own unique voice.\u003c/p>\n\u003cp>I found a \u003ca href=\"http://www.davidshrigley.com/\" target=\"_blank\" rel=\"noopener\">David Shirgley \u003c/a> book at the Museum of Modern Art when I was younger and I realized I was doing what he was doing, but way worse. But he was in the Museum of Modern art and he made these crude drawings that were really funny.\u003c/p>\n\u003cp>\u003cb>What were the zines that influenced you?\u003c/b>\u003c/p>\n\u003cp>I really liked \u003ci>Cometbus\u003c/i>, which was made by a guy named Aaron Cometbus, who was from the Bay Area. He was putting out professional-style books years ago and I thought, “If this punk kid could do this…”\u003c/p>\n\u003cp>There was also a woman from New Hampshire named Lisa “Suckdog” and she put out a zine called \u003ci>Rollerderby\u003c/i> that was really influential on me. She was just nasty and funny and did whatever the hell she wanted.\u003c/p>\n\u003cp>\u003cb>What is so inspiring about \u003ca href=\"https://www.google.com/search?q=jay+howell+harlequin+books&tbm=isch&tbo=u&source=univ&sa=X&ved=0CCAQsARqFQoTCI621_i0hMkCFRPuYwodP2QMKQ&biw=1056&bih=669\" target=\"_blank\" rel=\"noopener\">Harlequin Books\u003c/a>?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067974\" class=\"wp-caption alignright\" style=\"max-width: 611px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067974\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\" alt=\"'Savage Sanctuary' by JAy Howell\" width=\"611\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-369x600.jpg 369w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Savage Sanctuary’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>Essentially once I draw on a page, I can pretend I was a part of finishing something bigger. Of course I know it’s not true, but I like that feeling of adding to something that been completed.\u003c/p>\n\u003cp>But with Harlequin books, it’s the titles; those titles are ridiculous. I probably have 1,600 over those things — you can buy 300 at a time for like $30 on eBay. But the titles are so funny, it’s like they speak to me. And there are so many of them. I never read any, but right away I thought they were beautiful. After I started adding to them, I wanted to do a lot more. I’ve done hundreds of those.\u003c/p>\n\u003cp>But the paper is really fragile, so I’ve had to add a clear coat first so it could be painted on and still hold together. I’ve had to buy multiples of every book. I’d search them out — if I found a good title and I f*cked it up, I tried to find three more of the same one, just so I’d have it. But those titles would never not be funny.\u003c/p>\n\u003cp>\u003cb>You met Loren Bouchard while you were working at Atlas Cafe in San Francisco. How did that happen?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067873\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg\" alt=\"Early drawings of Linda from 'Bob's Burgers'\" width=\"436\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-400x550.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg 576w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early drawings of Linda from ‘Bob’s Burgers.’ \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He had a studio just around the corner, and he’d come in every morning and order coffee. And someone said, “Hey, that’s the guy that did \u003ci>Home Movies\u003c/i>,” and I was like, “Those shows rule and I have to meet that guy.” Someone introduced me and it was very casual, and he became one of my regulars. He’d come in and I’d show him my new zine or whatever, and he was always excited and would talk to me about art because he’s such a cool dude.\u003c/p>\n\u003cp>Then he started coming to my art shows and watching animations, and then one day he asked if I wanted to come work on something, because he had an idea for a family restaurant show. It just spiraled from that moment on into a life in cartoons.\u003c/p>\n\u003cp>\u003cb>How did the show \u003ci>Sanjay and Craig\u003c/i> come together?\u003c/b>\u003c/p>\n\u003cp>My partner since 2006, Jim Dirschberger, and I were really into G.G Allin and punk sh*t, biker gangs, horror movies and stuff like that. We really like the f*cked up stuff in life.\u003c/p>\n\u003cfigure id=\"attachment_11067670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\" alt='\"Rosewolf\" by Jay Howell' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Rosewolf’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Nickelodeon contacted us, telling us that they really liked our work and asking if we ever wanted to pitch a kids’ show. At first we said, “No!” [Laughs] It was like they were handing us our dream job but we’d have to do it in a way we’d never tried before.\u003c/p>\n\u003cp>But I’m an opportunist and I like to challenge myself. They gave me this opportunity to do something and it seemed fun so we went with it and it really worked out.\u003c/p>\n\u003cp>\u003cb>You love dogs. Why a snake for the main character and not a dog?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067972\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\" alt=\"'Leave Us Alone' by Jay Howell\" width=\"450\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-388x600.jpg 388w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Leave Us Alone’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>The idea came from a zine I wrote called \u003ci>Sanjay and Craig\u003c/i> about a snake charmer and a snake in India who f*ck around and date girls and get drunk together. It was this funny little buddy story and I probably made a couple hundred copies of this zine.\u003c/p>\n\u003cp>When we were thinking of ideas of what the TV show could be and I said, “What about this show, but with a boy and a snake instead of a man and a snake?” It was the only idea we really had for a kids’ show.\u003c/p>\n\u003cp>\u003cb>That zine isn’t in your anthology, is it?\u003c/b>\u003c/p>\n\u003cp>Nah, it’s not. I think I forgot. [Laughs]\u003c/p>\n\u003cp>\u003cb>Have you run into any resistance with the network over your ideas? I mean, one of the first episodes of \u003ci>Sanjay and Craig\u003c/i> is about \u003ca href=\"http://www.sfgate.com/tv/article/Sanjay-and-Craig-review-Hysssterical-4536182.php\" target=\"_blank\" rel=\"noopener\">a butt transplant\u003c/a>.\u003c/b>\u003c/p>\n\u003cp>I was just talking about that with Chris Hardwick and Maulik Pancholy (the voices of “Craig” and “Sanjay”). They were telling me that I had done some “f*cked up stuff” on the show and we were like, “Yeah, we have!” [Laughs]\u003c/p>\n\u003cp>We’ve gotten in trouble before. They’ve told us that we were being too gross and needed to pull back a little bit. But Nickelodeon has been really easy to work with. They know we’re this wild show, and people like it like that, so we haven’t had many problems. Maybe at first, when we were trying to find the voice of the show, we had arguments with the network. But other than that it’s been easy sailing.\u003c/p>\n\u003cp>I think Nickelodeon has had a lot of success with shows like \u003ci>Ren and Stimpy\u003c/i>, \u003cem>[The Adventures of] Pete and Pete\u003c/em> and other off-the-cuff kind of alternative things. I think our show was Nickelodeon seeing if that kind of thing could work again. They were like, “Let’s make something that people will pay attention to right away, so you can go for it.” So we thought “butt transplants, that’s hilarious.” (“Brett Venom M.D.,” about “the world’s first butt transplant,” was the first episode of \u003ci>Sanjay and Craig\u003c/i>.)\u003c/p>\n\u003cp>\u003cb>Do you see yourself ever doing more of an adult-themed, Adult Swim-style cartoon?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067973\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\" alt='\"Gucci Blooms\" by Jay Howell' width=\"720\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-400x480.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-500x600.jpg 500w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Gucci Blooms” by Jay Howell\u003c/figcaption>\u003c/figure>\n\u003cp>I can only allude to this, but my partner and I have another deal with another network, and it’s going to be an adult cartoon. It’s going to be punk as f*ck. It’s going to be \u003ci>South Park\u003c/i> bad. We attached an insane Hollywood actor to the project and it’s going to be bananas.\u003c/p>\n\u003cp>\u003cb>Did you ever think when you started drawing zines that it would turn into a career?\u003c/b>\u003c/p>\n\u003cp>I really rolled the dice with my life. I’m 40 now and when I was 18, I was committed to being an artist but I didn’t have any clue how it was going to work, at all. I’m kind of a clueless dude. I knew my art was narrative and I liked drawing cartoons, but I never thought I’d get to this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Punks Git Cut\u003c/b> Book Release Party at 111 Minna Gallery in San Francisco is on Thursday, Nov. 12 at 6pm. Go to the \u003ca href=\"https://www.facebook.com/events/1504795093168830/\" target=\"_blank\" rel=\"noopener\">event page on Facebook\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Five Smartest Things Mindy Kaling Said Last Night",
"headTitle": "The Five Smartest Things Mindy Kaling Said Last Night | KQED",
"content": "\u003cp>Mindy Kaling wants to be more personal. In the introduction to her latest book, \u003cem>Why Not Me?\u003c/em>, the writer and actor explains that “If my childhood, teens and twenties were about wanting people to like me, now I want people to know me.”\u003c/p>\n\u003cp>On Saturday night, in conversation with author Michael Lewis at City Arts & Lectures in San Francisco, that openness was on full display to a sold-out house. Kaling spoke of her desire to have kids, ribbed Lewis on his defense of Woody Allen and even fielded a question about writers’ inside jokes from surprise guest B.J. Novak. Along the way, Kaling dispensed smart, self-aware anecdotes and advice. Here’s a quick sample.\u003c/p>\n\u003cfigure id=\"attachment_11066189\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg\" alt=\"Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On advice for aspiring actors:\u003c/strong>\u003c/p>\n\u003cp>“Here’s the thing — this is for young women, and it seems like there’s a lot of young women here — you can’t expect encouragement. You might be lucky, and have nice parents – I was born very lucky, and I had that – but you can’t expect it at all. The encouragement you have to find is within you, in that little fire that everyone’s always trying to put out. And you’re like, ‘Ah, no, it’s still there. I still wanna do it, and I’m gonna do it.’ So getting used to people encouraging you? You can’t get hooked on that, because it will not come until much, much later, after you’ve proved it yourself. That seems like a bummer thing to say, but it’s true. I mean, when you’re a chubby Indian kid with a haircut that’s like a boy’s, sitting in the classroom, and you say you want to be a leading lady in your own plays, any reasonable person would be like, ‘Eehhh… I’d revise your ambitions.'”\u003c/p>\n\u003cp>\u003cstrong>On the impetus to write, and the obligation to be funny:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I’m writing, I think I’m more motivated by injustice than I am about being funny. So I have a story that later maybe \u003cem>is\u003c/em> funny, but is about a time when I felt I was treated unfairly. That’s very easy to write down, because as you know, it’s very easy to go on a rant about a time when you felt mistreated. And then later, you have to look at it and go, ‘OK, will anyone care about this? Is this actually something that’s relatable?’ Then it’s like decorating a Christmas tree — you put some jokes and observations on it, after you feel like it has a spine. That’s how I write when I feel passionately about something.”\u003c/p>\n\u003cfigure id=\"attachment_11066190\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg\" alt=\"Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On being recognized for her talent instead of her demographic:\u003c/strong>\u003c/p>\n\u003cp>“Because I’m Indian, and because I am a woman, I become part of a very small group – at this point, I think there’s about three of us who have big shows, which is in itself something that needs to change. But the issue, and the reason I say things like that, is that I believe I can compete with white men. Nothing makes me happier than feeling recognition from people who are my demographic; I cherish that, and I think it’s to be welcomed. It feels very gratifying to me. And yet I don’t want to self-categorize my work into a group that’s smaller than I can compete with.”\u003c/p>\n\u003cp>\u003cstrong>On advice for those entering college and the adult world:\u003c/strong>\u003c/p>\n\u003cp>“I’ve never given this advice before, but I think it could be useful. When I was in high school, I did not date a lot — surprise, surprise — and later, it helped me get into a good school… but I think that it would have been good for me to care more about that, or explore it more, or try to get my heart broken in high school. Because what it did later is in my 20s, and even in some of my 30s, I became so boy-crazy. I’m too susceptible to handsomeness. I’m too responsive to what a good-looking guy wants to say to me. I think if I had just a little more more experience when I was younger, I wouldn’t care so much about what Ashton Kutcher wants to say to me at a party. Most of my advice is always just to study and study and work hard, but honestly, you \u003cem>should\u003c/em> have growing pains.”\u003c/p>\n\u003cp>\u003cstrong>On the question ‘You describe yourself as a competitive, bookish nerd, yet you love fashion, gossip, small talk and romantic movies. How do you reconcile these two seemingly contradictory sides of yourself?’\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, I have always thought that was so unfair, and uncool. I think of myself as a smart person, I love to read, I keep up on global events and have political views. But because I am sometimes traditionally girly, or I like traditional girly things, that’s seen as anti-intellectual. I look at the way the show is perceived, or the way the book is perceived — that it’s easy to do, or it’s like picking up an issue of \u003cem>US Weekly\u003c/em>. But it’s not.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mindy Kaling wants to be more personal. In the introduction to her latest book, \u003cem>Why Not Me?\u003c/em>, the writer and actor explains that “If my childhood, teens and twenties were about wanting people to like me, now I want people to know me.”\u003c/p>\n\u003cp>On Saturday night, in conversation with author Michael Lewis at City Arts & Lectures in San Francisco, that openness was on full display to a sold-out house. Kaling spoke of her desire to have kids, ribbed Lewis on his defense of Woody Allen and even fielded a question about writers’ inside jokes from surprise guest B.J. Novak. Along the way, Kaling dispensed smart, self-aware anecdotes and advice. Here’s a quick sample.\u003c/p>\n\u003cfigure id=\"attachment_11066189\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg\" alt=\"Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On advice for aspiring actors:\u003c/strong>\u003c/p>\n\u003cp>“Here’s the thing — this is for young women, and it seems like there’s a lot of young women here — you can’t expect encouragement. You might be lucky, and have nice parents – I was born very lucky, and I had that – but you can’t expect it at all. The encouragement you have to find is within you, in that little fire that everyone’s always trying to put out. And you’re like, ‘Ah, no, it’s still there. I still wanna do it, and I’m gonna do it.’ So getting used to people encouraging you? You can’t get hooked on that, because it will not come until much, much later, after you’ve proved it yourself. That seems like a bummer thing to say, but it’s true. I mean, when you’re a chubby Indian kid with a haircut that’s like a boy’s, sitting in the classroom, and you say you want to be a leading lady in your own plays, any reasonable person would be like, ‘Eehhh… I’d revise your ambitions.'”\u003c/p>\n\u003cp>\u003cstrong>On the impetus to write, and the obligation to be funny:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I’m writing, I think I’m more motivated by injustice than I am about being funny. So I have a story that later maybe \u003cem>is\u003c/em> funny, but is about a time when I felt I was treated unfairly. That’s very easy to write down, because as you know, it’s very easy to go on a rant about a time when you felt mistreated. And then later, you have to look at it and go, ‘OK, will anyone care about this? Is this actually something that’s relatable?’ Then it’s like decorating a Christmas tree — you put some jokes and observations on it, after you feel like it has a spine. That’s how I write when I feel passionately about something.”\u003c/p>\n\u003cfigure id=\"attachment_11066190\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg\" alt=\"Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On being recognized for her talent instead of her demographic:\u003c/strong>\u003c/p>\n\u003cp>“Because I’m Indian, and because I am a woman, I become part of a very small group – at this point, I think there’s about three of us who have big shows, which is in itself something that needs to change. But the issue, and the reason I say things like that, is that I believe I can compete with white men. Nothing makes me happier than feeling recognition from people who are my demographic; I cherish that, and I think it’s to be welcomed. It feels very gratifying to me. And yet I don’t want to self-categorize my work into a group that’s smaller than I can compete with.”\u003c/p>\n\u003cp>\u003cstrong>On advice for those entering college and the adult world:\u003c/strong>\u003c/p>\n\u003cp>“I’ve never given this advice before, but I think it could be useful. When I was in high school, I did not date a lot — surprise, surprise — and later, it helped me get into a good school… but I think that it would have been good for me to care more about that, or explore it more, or try to get my heart broken in high school. Because what it did later is in my 20s, and even in some of my 30s, I became so boy-crazy. I’m too susceptible to handsomeness. I’m too responsive to what a good-looking guy wants to say to me. I think if I had just a little more more experience when I was younger, I wouldn’t care so much about what Ashton Kutcher wants to say to me at a party. Most of my advice is always just to study and study and work hard, but honestly, you \u003cem>should\u003c/em> have growing pains.”\u003c/p>\n\u003cp>\u003cstrong>On the question ‘You describe yourself as a competitive, bookish nerd, yet you love fashion, gossip, small talk and romantic movies. How do you reconcile these two seemingly contradictory sides of yourself?’\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, I have always thought that was so unfair, and uncool. I think of myself as a smart person, I love to read, I keep up on global events and have political views. But because I am sometimes traditionally girly, or I like traditional girly things, that’s seen as anti-intellectual. I look at the way the show is perceived, or the way the book is perceived — that it’s easy to do, or it’s like picking up an issue of \u003cem>US Weekly\u003c/em>. But it’s not.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "WATCH: Donald Trump is Called 'Racist' on SNL... But as Part of the Gag",
"headTitle": "WATCH: Donald Trump is Called ‘Racist’ on SNL… But as Part of the Gag | KQED",
"content": "\u003cp>Saturday Night Live acknowledged a group of \u003ca href=\"http://www.huffingtonpost.com/entry/donald-trump-nbc_563e9a49e4b0b24aee4a9836\" target=\"-blank\" rel=\"noopener\">protesters outside of its studios\u003c/a> with a bit of comedy last night.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/25/451322445/would-snl-have-donald-trump-as-host-if-it-had-latino-cast-members\" target=\"-blank\" rel=\"noopener\">As we’ve reported\u003c/a>, Latino activists had called on NBC to disinvite Donald Trump from hosting the late-night comedy show. They charged that Trump had shown himself to be a bigot \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\">when he denigrated Mexican immigrants\u003c/a>.\u003c/p>\n\u003cp>In the past, NBC reacted to those comments by dropping him as host of \u003cem>Celebrity Apprentice\u003c/em> and dropping Trump’s Miss USA and Miss Universe pageants.\u003c/p>\n\u003cp>But last night, Trump took the stage as planned. And NBC planted comedian Larry David to heckle him:\u003c/p>\n\u003cp>https://twitter.com/nbcsnl/status/663232455197851649\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joke, of course, is based on a offer by Deport Racism PAC that \u003ca href=\"http://deportracism.com/pages/media-information-xxxxxx\" target=\"_blank\" rel=\"noopener\">offered $5,000 in “cold hard cash”\u003c/a> to anyone who shouted “Trump is a racist” during the live broadcast.\u003c/p>\n\u003cp>On Twitter, the group said David had won the bounty: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/DeportRacism/status/663231776815386624\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=WATCH%3A+Donald+Trump+Is+Called+%27Racist%27+On+SNL...+But+As+Part+Of+The+Gag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Reality, as Robin Williams observed through the haze of 1970s smoke and fame, is a heckuva concept. On its bad days, reality bites (to cite another pop-culture reference), and on its good days it’s stranger than fiction. It’s the inspiration for reality TV, though that relationship has devolved into a barely nodding acquaintance.\u003c/p>\n\u003cp>Documentary filmmakers likewise start with real life, then massage and manipulate it into a story for our edification and entertainment. (It frequently comes with a chaser of social activism.) One of the strongest aspects of \u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>, KQED’s long-running series of nonfiction works by and about Golden State characters, is that it presents an array of cinematic approaches and strategies that gently forces viewers to recognize the pervasiveness of subjective truth — the product of each filmmaker’s multitude of choices — in what is still perceived by some as an objective medium.\u003c/p>\n\u003cfigure id=\"attachment_11035275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/LDOF640.jpg\" alt=\"Still from 'Last Day of Freedom.'\" width=\"640\" height=\"361\" class=\"size-full wp-image-11035275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640-400x226.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom.’ \u003ccite>(Courtesy: Dee Hibbert-Jones and Nomi Talisman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now you may be attracted to documentaries for their content rather than their form, for the story rather than the storytelling, but experienced viewers recognize that one informs the other. 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You’ll have your favorites among the five shorts airing Nov. 1 under the inviting rubric “State of Discovery,” though the hands-down creepiest is Yael Bridge and Helen Hood Scheer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/reborning/\" target=\"_blank\" rel=\"noopener\">Reborning\u003c/a>\u003c/em>, an open-ended introduction to a woman who handcrafts incredibly lifelike dolls for collectors. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scheer’s equally non-judgmental \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/full-time-ministry/\" target=\"_blank\" rel=\"noopener\">Full-time Ministry\u003c/a>\u003c/em> sketches a former ministry student (now a Fresno high school teacher) who infuses his ice sculptures with the gospel.\u003c/p>\n\u003cp>A great deal of skill and craft is brought to bear in \u003ca href=\"http://ww2.kqed.org/trulyca/slomo/\" target=\"_blank\" rel=\"noopener\">\u003cem>SLOMO\u003c/em>\u003c/a>, a 16-minute profile of a wealthy North Carolina doctor who chucked the rat race and took up rollerblading in Southern California nearly two decades ago. But filmmaker Josh Izenberg’s hubris — a heavy-handed shot of a hamster on a wheel is one of several offenses — overwhelms his subject’s humility.\u003c/p>\n\u003cp>Nick Brandestini’s hour-long \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/darwin/\" target=\"_blank\" rel=\"noopener\">Darwin\u003c/a>\u003c/em> (Nov. 8), unseen by your otherwise-diligent correspondent, camps out with the tiny populace of an isolated Death Valley town (if that’s not too grandiose a word for this dwindling outpost of civilization).\u003c/p>\n\u003cfigure id=\"attachment_11035280\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg\" alt=\"Still from 'Big Joy.'\" width=\"640\" height=\"461\" class=\"size-full wp-image-11035280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Big Joy.’ \u003ccite>(Credit: Dawn Lagsdon and Eric Slade/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Closer to home, Dawn Lodgson, Eric Slade and Stephen Silha’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/big-joy/\" target=\"_blank\" rel=\"noopener\">Big Joy: The Adventures of James Broughton\u003c/a>\u003c/em> (Nov. 15) revives the spirit and philosophy of the late, great Bay Area experimental filmmaker, poet and inspiration. A hit at the 2013 Frameline festival, the film is an exuberantly offbeat portrait of a free spirit who brushed off the prejudices of the day against homosexuality and bisexuality. \u003c/p>\n\u003cfigure id=\"attachment_11035283\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg\" alt=\"Still from 'First Friday.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-11035283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘First Friday.’ \u003ccite>(Courtesy: Mario Furloni and N’Jeri Eaton/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bouncing a poet’s sensibility against the crashing reality of present-day Oakland, N’Jeri Eaton and Mario Furloni’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a>\u003c/em> closes the season on Nov. 22 with a rush. Shot on the streets, and shot through with optimism, this vibrant, pulsing film uses First Friday — a social event intended to build community and promote the local arts scene — as a hub for the many residents working toward a better future for Oakland. What a concept, eh?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season 11 of Truly CA runs Oct. 25 – Nov. 22 on KQED.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reality, as Robin Williams observed through the haze of 1970s smoke and fame, is a heckuva concept. On its bad days, reality bites (to cite another pop-culture reference), and on its good days it’s stranger than fiction. It’s the inspiration for reality TV, though that relationship has devolved into a barely nodding acquaintance.\u003c/p>\n\u003cp>Documentary filmmakers likewise start with real life, then massage and manipulate it into a story for our edification and entertainment. (It frequently comes with a chaser of social activism.) One of the strongest aspects of \u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>, KQED’s long-running series of nonfiction works by and about Golden State characters, is that it presents an array of cinematic approaches and strategies that gently forces viewers to recognize the pervasiveness of subjective truth — the product of each filmmaker’s multitude of choices — in what is still perceived by some as an objective medium.\u003c/p>\n\u003cfigure id=\"attachment_11035275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/LDOF640.jpg\" alt=\"Still from 'Last Day of Freedom.'\" width=\"640\" height=\"361\" class=\"size-full wp-image-11035275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640-400x226.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom.’ \u003ccite>(Courtesy: Dee Hibbert-Jones and Nomi Talisman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now you may be attracted to documentaries for their content rather than their form, for the story rather than the storytelling, but experienced viewers recognize that one informs the other. Dee Hibbert-Jones and Nomi Talisman’s extraordinary \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/last-day-of-freedom/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, which began the Truly CA season on Oct. 25, uses spare animation and Fred Frith’s solo guitar to convey Bill Babbitt’s haunted memories of his brother Manny, a Vietnam vet tormented by PTSD. “They never got around to patching up that wound in his head,” Babbitt recalls in the course of a deeply personal and altogether riveting 27 minutes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/seOHk4rCMZQ'\n title='//www.youtube.com/embed/seOHk4rCMZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The short documentary is generally underappreciated, although it operates from the irresistible premise that everybody possesses sufficient uniqueness and substance to sustain a five-minute film (at the very least). You’ll have your favorites among the five shorts airing Nov. 1 under the inviting rubric “State of Discovery,” though the hands-down creepiest is Yael Bridge and Helen Hood Scheer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/reborning/\" target=\"_blank\" rel=\"noopener\">Reborning\u003c/a>\u003c/em>, an open-ended introduction to a woman who handcrafts incredibly lifelike dolls for collectors. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scheer’s equally non-judgmental \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/full-time-ministry/\" target=\"_blank\" rel=\"noopener\">Full-time Ministry\u003c/a>\u003c/em> sketches a former ministry student (now a Fresno high school teacher) who infuses his ice sculptures with the gospel.\u003c/p>\n\u003cp>A great deal of skill and craft is brought to bear in \u003ca href=\"http://ww2.kqed.org/trulyca/slomo/\" target=\"_blank\" rel=\"noopener\">\u003cem>SLOMO\u003c/em>\u003c/a>, a 16-minute profile of a wealthy North Carolina doctor who chucked the rat race and took up rollerblading in Southern California nearly two decades ago. But filmmaker Josh Izenberg’s hubris — a heavy-handed shot of a hamster on a wheel is one of several offenses — overwhelms his subject’s humility.\u003c/p>\n\u003cp>Nick Brandestini’s hour-long \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/darwin/\" target=\"_blank\" rel=\"noopener\">Darwin\u003c/a>\u003c/em> (Nov. 8), unseen by your otherwise-diligent correspondent, camps out with the tiny populace of an isolated Death Valley town (if that’s not too grandiose a word for this dwindling outpost of civilization).\u003c/p>\n\u003cfigure id=\"attachment_11035280\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg\" alt=\"Still from 'Big Joy.'\" width=\"640\" height=\"461\" class=\"size-full wp-image-11035280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Big Joy.’ \u003ccite>(Credit: Dawn Lagsdon and Eric Slade/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Closer to home, Dawn Lodgson, Eric Slade and Stephen Silha’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/big-joy/\" target=\"_blank\" rel=\"noopener\">Big Joy: The Adventures of James Broughton\u003c/a>\u003c/em> (Nov. 15) revives the spirit and philosophy of the late, great Bay Area experimental filmmaker, poet and inspiration. A hit at the 2013 Frameline festival, the film is an exuberantly offbeat portrait of a free spirit who brushed off the prejudices of the day against homosexuality and bisexuality. \u003c/p>\n\u003cfigure id=\"attachment_11035283\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg\" alt=\"Still from 'First Friday.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-11035283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘First Friday.’ \u003ccite>(Courtesy: Mario Furloni and N’Jeri Eaton/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bouncing a poet’s sensibility against the crashing reality of present-day Oakland, N’Jeri Eaton and Mario Furloni’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a>\u003c/em> closes the season on Nov. 22 with a rush. Shot on the streets, and shot through with optimism, this vibrant, pulsing film uses First Friday — a social event intended to build community and promote the local arts scene — as a hub for the many residents working toward a better future for Oakland. What a concept, eh?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season 11 of Truly CA runs Oct. 25 – Nov. 22 on KQED.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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": {
"id": "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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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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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},
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