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"content": "\u003cp>Dear reader! We find ourselves on a Friday afternoon before Labor Day weekend, perched on the precipice of three long days of freedom, cookouts and \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hiero-day/\" target=\"_blank\">massive block parties\u003c/a>.\u003c/p>\n\u003cp>You're not doing any \u003cem>actual work\u003c/em>, are you? Of course not. So there's no time like the present to catch up on what you missed this week in pop culture.\u003c/p>\n\u003cp>\u003cstrong>1. American hero Robert Wright ran back into a burning building in Fresno, after making sure his family was okay, to save a rack of barbecued ribs.\u003c/strong>\u003c/p>\n\u003cp>“First thing, I got my kids, and I thought about my ribs. Like, I didn’t want my ribs to burn and stuff because I take pride in what I do, man,” \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fresno-ribs-man-interview-html-20150903-htmlstory.html\" target=\"_blank\">said the West Oakland native and instantaneous worldwide role model\u003c/a>. Something to think about at your BBQs this weekend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zCLpRR-wVo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\n\u003cp>https://vimeo.com/138055103\u003c/p>\n\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViwtNLUqkMY\u003c/p>\n\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGxHBjVc4Rw\u003c/p>\n\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qQNY_nihI90\u003c/p>\n\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\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/ViwtNLUqkMY'\n title='//www.youtube.com/embed/ViwtNLUqkMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\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/rGxHBjVc4Rw'\n title='//www.youtube.com/embed/rGxHBjVc4Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\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/qQNY_nihI90'\n title='//www.youtube.com/embed/qQNY_nihI90'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/222258730″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/222258730″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/222258730″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[contextly_sidebar id=\"bBgbQ7vRvQX3KGtBSFThqVyrn9e0NWRm\"]The trailer for the very last season of \u003cem>Downton Abbey\u003c/em> has landed! This is an historic moment and the end of an era so what better way to experience it than with a live blog of this single minute preview?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WPwaCjE8DcY\u003c/p>\n\u003cp>0:01: Only took one second to get to the mournful piano keys. Gird yourselves!\u003c/p>\n\u003cp>0:03: Carson is packing a suitcase! Where will he go? Probably Hollywood, where he will pitch the idea for a sitcom about the travails of an out-of-place British butler ;v must change with the times. The show will be titled \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=0IUSSrldd0U\" target=\"_blank\">Mr. Belvedere\u003c/a>\u003c/em> and run for six seasons.\u003c/p>\n\u003cp>0:07: Lord Grantham condescendingly lectures Carson about how you can't resist time or progress, despite the fact that he tried to do just that every moment of the previous five seasons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>0:10: The producers obviously told this musician to get as close to that sad, one-eyed dog Sarah McLachlan song as possible. \u003cem>We want all the feels!\u003c/em> they probably yelled. They could have saved time and just used this Green Day song:\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=40&v=CnQ8N1KacJc\u003c/p>\n\u003cp>0:14: Thomas walks through an empty room. If the Crawleys aren't already bankrupt, they will be after what's sure to be a massive U-Haul bill. All those famous paintings and their gilded frames, the ornate rugs, the canopy beds! Not to mention that huge gramophone that really pissed off the Dowager that one time!\u003c/p>\n\u003cp>0:15: Lady Mary and Daisy turn and are really surprised...like Beyonce-just-dropped-a-whole-album-with-music-videos-on-a-quiet-Friday-night surprised. Maybe Sybil walked in wearing whatever 1927's version of harem pants is and everything that \"happened\" after her \"death\" was a preeclampsia fever dream? Make it right, Julian Fellowes, make it right!\u003c/p>\n\u003cp>0:17: Thomas opens a door and seems really over it all. All that meddling and scheming and lurking and he's still stuck in a job he hates without a make out buddy.\u003c/p>\n\u003cp>0:19: The father of Daisy's late sort-of husband hugs her while looking at the stone house that will now be hers. Dear kids, stay in school...and be too polite to say \"yeah, no\" when a dying guy you've gone on zero dates with asks you to marry him. You'll get a cute rent-controlled place out of it!\u003c/p>\n\u003cp>0:20: Lady Edith is wearing gems on her forehead! I also spy a lemon twist in a half-empty cocktail glass. So I'm going to assume the writers have had their fill of making her utterly miserable and are going to let her drink gin and flirt and stop sobbing in corners. Yeah, probably not.\u003c/p>\n\u003cp>0:22: Anna smiles because her Debbie Downer husband isn't around. We smile too.\u003c/p>\n\u003cp>0:23: Mrs. Patmore dances in the kitchen with a cop because she deserves a break.\u003c/p>\n\u003cp>0:24: Mrs. Hughes smiles because Anna's Debbie Downer husband isn't around. We smile again.\u003c/p>\n\u003cp>0:25: Carson weirdly pets a bedspread.\u003c/p>\n\u003cp>0:29: Anna attempts to have a heart-to-heart with Mary. Mary cannot oblige because she is a sociopath.\u003c/p>\n\u003cp>0:32: There's a net connected to Mary's bowler hat. It's raining. Mary gets wet, while walking with a purpose. She knows what she must do: she must kill her annoying sister.\u003c/p>\n\u003cp>0:33: Why did it take 33 seconds to get a shot of Maggie Smith? If they want us to watch, the first 33 seconds should have just been the Dowager eating soup really primly or rolling her eyes at loud birds or something. Know your audience!\u003c/p>\n\u003cp>0:35: Carson kisses Mrs. Hughes...on the forehead. At this rate, one of them will die before they get around to having sex.\u003c/p>\n\u003cp>0:37: Daisy is still super stoked about the house she got out of pretending to be in love with a dead person.\u003c/p>\n\u003cp>0:38: Anna's Debbie Downer husband is back. Her smile is replaced with sobbing.\u003c/p>\n\u003cp>0:40: Someone drives recklessly. Haven't we learned anything from Matthew's sudden demise?\u003c/p>\n\u003cp>0:41: Thomas walks in on the new guy doing something weird and maybe sexual. Oo la la!\u003c/p>\n\u003cp>0:42: The servants are at church ceremony. Thomas and new guy get married?! Nope, gotta wait approximately 100 years for that one. It's probably Mrs. Hughes and Carson. You should have dated a little before you committed to a lifetime of forehead kisses, Mrs. Hughes!\u003c/p>\n\u003cp>0:44: Mary feels an emotion! Or maybe she's just mocking Edith again.\u003c/p>\n\u003cp>0:45: The babies run adorably. Sybbie is in America though so we don't care that much.\u003c/p>\n\u003cp>0:46: I knew the forehead jewels and cocktails wouldn't last. Edith is distraught again.\u003c/p>\n\u003cp>0:47: Daisy finds out some really good gossip.\u003c/p>\n\u003cp>0:49: The Dowager makes a cute face.\u003c/p>\n\u003cp>0:52: The Crawleys get out of their cars and look up at what's probably their new digs. Smaller circular driveway off of a major road (can you imagine?!) and probably a smaller moat too. Hard times.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>0:56: A British lady reminds us that people in the UK will be able to watch the new season starting in September, while all of us Yanks have to wait 'til 2016. All these years later and this arrangement still makes zero sense. And this is the final time we get to complain about it so make it good!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>0:10: The producers obviously told this musician to get as close to that sad, one-eyed dog Sarah McLachlan song as possible. \u003cem>We want all the feels!\u003c/em> they probably yelled. They could have saved time and just used this Green Day song:\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/CnQ8N1KacJc'\n title='//www.youtube.com/embed/CnQ8N1KacJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>0:14: Thomas walks through an empty room. If the Crawleys aren't already bankrupt, they will be after what's sure to be a massive U-Haul bill. All those famous paintings and their gilded frames, the ornate rugs, the canopy beds! Not to mention that huge gramophone that really pissed off the Dowager that one time!\u003c/p>\n\u003cp>0:15: Lady Mary and Daisy turn and are really surprised...like Beyonce-just-dropped-a-whole-album-with-music-videos-on-a-quiet-Friday-night surprised. Maybe Sybil walked in wearing whatever 1927's version of harem pants is and everything that \"happened\" after her \"death\" was a preeclampsia fever dream? Make it right, Julian Fellowes, make it right!\u003c/p>\n\u003cp>0:17: Thomas opens a door and seems really over it all. All that meddling and scheming and lurking and he's still stuck in a job he hates without a make out buddy.\u003c/p>\n\u003cp>0:19: The father of Daisy's late sort-of husband hugs her while looking at the stone house that will now be hers. Dear kids, stay in school...and be too polite to say \"yeah, no\" when a dying guy you've gone on zero dates with asks you to marry him. 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"content": "\u003cp>If you were born in the late '70s or early '80s, chances are you were a big fan of \u003cem>My So-Called Life\u003c/em>, the short-lived teen drama that introduced us to Jared Leto and made us want to dye our hair red and mumble something inappropriate about Anne Frank's diary in English class.\u003c/p>\n\u003cp>Since the show wrapped, Claire Danes is killing it on \u003cem>Homeland\u003c/em> and, against all odds, Jared Leto is an Oscar winner, but what ever happened to A.J. Langer, the actress who played everyone's favorite bad influence, Rayanne Graff?\u003c/p>\n\u003cp>According to \u003cem>\u003ca href=\"http://www.telegraph.co.uk/news/celebritynews/11819951/Former-Baywatch-actress-becomes-Countess-of-Devon.html\" target=\"_blank\">The Telegraph\u003c/a>\u003c/em>, Langer is basically living in a modern-day episode of \u003cem>Downton Abbey\u003c/em>. Thanks to sexist inheritance laws, she's now a Countess in England and lives in a 14th century castle that has money problems. That's a long way from one of Tino's house parties! How did she manage it? I'll tell you.\u003c/p>\n\u003cp>You see, she met this rugby dude in Vegas who happened to be Charles Courtenay, the son of the Earl of Devon. They eventually got married and had kids. Meanwhile, back on the 4,000 acre family estate called Powederham Castle, said Earl was having money troubles, struggling to upkeep the property. One source of income was hosting civil ceremonies, which brought in £200k a year. But that dried up after his license was revoked for denying a gay couple because their marriage was \"objectionable to his Christian religion.\" He then had to resort to \u003ca href=\"http://www.telegraph.co.uk/news/uknews/6094363/Earl-sells-family-heirlooms-to-fund-upkeep-of-castle.html\" target=\"_blank\">selling heirlooms\u003c/a> to make ends meet. And then he died.\u003c/p>\n\u003cp>The Earl's estate and title now belong to his only son. His three daughters, all older than their brother, get bupkis because ovaries. And now the artist formerly known as Rayanne gets to be called the Countess of Devon and her two young children are a Lord and a Lady. And everyone lives happily ever after...except for the new Earl's sisters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Sorry to bum you out with this tale of patriarchy. Here's some funny fan fic about where we imagine the \u003c/em>My So-Called Life\u003cem> characters are now to lighten the mood:\u003c/em>\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2014/08/25/my-so-called-life-turns-20-where-are-they-now/\">My So-Called Life Turns 20: Where Are They Now?\u003c/a>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were born in the late '70s or early '80s, chances are you were a big fan of \u003cem>My So-Called Life\u003c/em>, the short-lived teen drama that introduced us to Jared Leto and made us want to dye our hair red and mumble something inappropriate about Anne Frank's diary in English class.\u003c/p>\n\u003cp>Since the show wrapped, Claire Danes is killing it on \u003cem>Homeland\u003c/em> and, against all odds, Jared Leto is an Oscar winner, but what ever happened to A.J. Langer, the actress who played everyone's favorite bad influence, Rayanne Graff?\u003c/p>\n\u003cp>According to \u003cem>\u003ca href=\"http://www.telegraph.co.uk/news/celebritynews/11819951/Former-Baywatch-actress-becomes-Countess-of-Devon.html\" target=\"_blank\">The Telegraph\u003c/a>\u003c/em>, Langer is basically living in a modern-day episode of \u003cem>Downton Abbey\u003c/em>. Thanks to sexist inheritance laws, she's now a Countess in England and lives in a 14th century castle that has money problems. That's a long way from one of Tino's house parties! How did she manage it? I'll tell you.\u003c/p>\n\u003cp>You see, she met this rugby dude in Vegas who happened to be Charles Courtenay, the son of the Earl of Devon. They eventually got married and had kids. Meanwhile, back on the 4,000 acre family estate called Powederham Castle, said Earl was having money troubles, struggling to upkeep the property. One source of income was hosting civil ceremonies, which brought in £200k a year. But that dried up after his license was revoked for denying a gay couple because their marriage was \"objectionable to his Christian religion.\" He then had to resort to \u003ca href=\"http://www.telegraph.co.uk/news/uknews/6094363/Earl-sells-family-heirlooms-to-fund-upkeep-of-castle.html\" target=\"_blank\">selling heirlooms\u003c/a> to make ends meet. And then he died.\u003c/p>\n\u003cp>The Earl's estate and title now belong to his only son. His three daughters, all older than their brother, get bupkis because ovaries. And now the artist formerly known as Rayanne gets to be called the Countess of Devon and her two young children are a Lord and a Lady. And everyone lives happily ever after...except for the new Earl's sisters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Yvonne Craig, best known for her role as Batgirl in the iconic 1960s television series \u003cem>Batman,\u003c/em> died Monday. She was 78.\u003c/p>\n\u003cp>Craig died at her home in Pacific Palisades, Calif., as a result of complications from breast cancer that had spread to her liver. In a \u003ca href=\"http://www.yvonnecraig.com/news/2015/08/19/a-word-from-yvonne-craigs-family/\" target=\"_blank\" rel=\"noopener\">statement posted to her website\u003c/a>, family members said:\u003c/p>\n\u003cblockquote>\n\u003cp>“She had been in chemo almost continuously for the past two plus years since being diagnosed and that had weakened her immune system as well as her body. This didn’t dampen her sense of humor or her spirit, she intended to fight and win this battle. In the end, her mind still wanted to fight but her body had given up.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Craig was a trained dancer who had studied at the Ballet Russe de Monte Carlo and toured for three years. Those dancing skills came in handy when the character of Batgirl debuted on ABC’s popular superhero crime-fighting series in 1967. Craig was able to perform her own stunts alongside Adam West, who played Batman.\u003c/p>\n\u003cp>As with many characters on the show, she had to play two roles. By day, she was librarian Barbara Gordon, daughter of Gotham City police Commissioner James Gordon. But in times of need, she transformed into the caped crusader fighting crime alongside Batman and Robin. She even had a purple motorcycle with white lace trim.\u003c/p>\n\u003cp>\u003cem>Star Trek\u003c/em> fans will remember Craig’s work, too. She played Marta, the green-skinned Orion slave girl who wanted to kill Captain Kirk in Season 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1H2QvmWLT4s\u003c/p>\n\u003cp>Other roles include the 1963 movie \u003cem>It Happened at the World’s Fair\u003c/em> and 1964’s \u003cem>Kissin’ Cousins\u003c/em>, both staring Elvis Presley. She also made guest appearances on popular TV shows throughout the 1970s, including \u003cem>Starsky & Hutch\u003c/em>, \u003cem>The Six Million Dollar Man\u003c/em> and \u003cem>Kojak\u003c/em>.\u003c/p>\n\u003cp>More recently, she did voice work for the Nickelodeon animated series \u003cem>Olivia \u003c/em>about an imaginative and creative pig.\u003c/p>\n\u003cp>Outside of acting, Craig had a real-estate career and also was involved with philanthropy. She was an advocate for workers unions, free mammograms and equal pay for women.\u003c/p>\n\u003cp>The family’s statement said Craig had two wishes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Wish Number One, is that her family, friends and fans would know how much she loved them and always treasured her time with them. Wish Number Two, was that no one waste a moment of their time in mourning for her loss in sadness but instead celebrate the awesome life she had been fortunate enough to live. She felt that she lived a wonderful life and was blessed in many ways.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Craig is survived by her husband, Kenneth Aldrich, as well as by her sister, Meridel Carson, and nephews Christopher and Todd Carson. \u003c/p>\n\u003cfigure id=\"attachment_10905405\" class=\"wp-caption aligncenter\" style=\"max-width: 474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg\" alt=\"Yvonne Craig appears in a publicity photo for the TV series Star Trek in 1969. She played the role of Orion Marta in the episode titled 'Whom Gods Destroy.'\" width=\"474\" height=\"355\" class=\"size-full wp-image-10905405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289-400x300.jpg 400w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Craig appears in a publicity photo for the TV series \u003cem>Star Trek\u003c/em> in 1969. She played the role of Orion Marta in the episode titled ‘Whom Gods Destroy.’ \u003ccite>(Silver Screen Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Yvonne+Craig%2C+Best+Known+As+%27Batgirl%2C%27+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yvonne Craig, best known for her role as Batgirl in the iconic 1960s television series \u003cem>Batman,\u003c/em> died Monday. She was 78.\u003c/p>\n\u003cp>Craig died at her home in Pacific Palisades, Calif., as a result of complications from breast cancer that had spread to her liver. In a \u003ca href=\"http://www.yvonnecraig.com/news/2015/08/19/a-word-from-yvonne-craigs-family/\" target=\"_blank\" rel=\"noopener\">statement posted to her website\u003c/a>, family members said:\u003c/p>\n\u003cblockquote>\n\u003cp>“She had been in chemo almost continuously for the past two plus years since being diagnosed and that had weakened her immune system as well as her body. This didn’t dampen her sense of humor or her spirit, she intended to fight and win this battle. In the end, her mind still wanted to fight but her body had given up.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Craig was a trained dancer who had studied at the Ballet Russe de Monte Carlo and toured for three years. Those dancing skills came in handy when the character of Batgirl debuted on ABC’s popular superhero crime-fighting series in 1967. Craig was able to perform her own stunts alongside Adam West, who played Batman.\u003c/p>\n\u003cp>As with many characters on the show, she had to play two roles. By day, she was librarian Barbara Gordon, daughter of Gotham City police Commissioner James Gordon. But in times of need, she transformed into the caped crusader fighting crime alongside Batman and Robin. She even had a purple motorcycle with white lace trim.\u003c/p>\n\u003cp>\u003cem>Star Trek\u003c/em> fans will remember Craig’s work, too. She played Marta, the green-skinned Orion slave girl who wanted to kill Captain Kirk in Season 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/1H2QvmWLT4s'\n title='//www.youtube.com/embed/1H2QvmWLT4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other roles include the 1963 movie \u003cem>It Happened at the World’s Fair\u003c/em> and 1964’s \u003cem>Kissin’ Cousins\u003c/em>, both staring Elvis Presley. She also made guest appearances on popular TV shows throughout the 1970s, including \u003cem>Starsky & Hutch\u003c/em>, \u003cem>The Six Million Dollar Man\u003c/em> and \u003cem>Kojak\u003c/em>.\u003c/p>\n\u003cp>More recently, she did voice work for the Nickelodeon animated series \u003cem>Olivia \u003c/em>about an imaginative and creative pig.\u003c/p>\n\u003cp>Outside of acting, Craig had a real-estate career and also was involved with philanthropy. She was an advocate for workers unions, free mammograms and equal pay for women.\u003c/p>\n\u003cp>The family’s statement said Craig had two wishes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Wish Number One, is that her family, friends and fans would know how much she loved them and always treasured her time with them. Wish Number Two, was that no one waste a moment of their time in mourning for her loss in sadness but instead celebrate the awesome life she had been fortunate enough to live. She felt that she lived a wonderful life and was blessed in many ways.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Craig is survived by her husband, Kenneth Aldrich, as well as by her sister, Meridel Carson, and nephews Christopher and Todd Carson. \u003c/p>\n\u003cfigure id=\"attachment_10905405\" class=\"wp-caption aligncenter\" style=\"max-width: 474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg\" alt=\"Yvonne Craig appears in a publicity photo for the TV series Star Trek in 1969. She played the role of Orion Marta in the episode titled 'Whom Gods Destroy.'\" width=\"474\" height=\"355\" class=\"size-full wp-image-10905405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289-400x300.jpg 400w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Craig appears in a publicity photo for the TV series \u003cem>Star Trek\u003c/em> in 1969. She played the role of Orion Marta in the episode titled ‘Whom Gods Destroy.’ \u003ccite>(Silver Screen Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Yvonne+Craig%2C+Best+Known+As+%27Batgirl%2C%27+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Television 2015: With 25 Ways To Watch TV, Does The House Always Win?",
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"content": "\u003cp>\u003cem>This is one in a series of essays running this week and next about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters.\u003c/em>\u003c/p>\n\u003cp>It is a secret only intermittently discussed that the anointed Golden Age Of Television is also very often The Golden Age Of Nobody Knowing What The Frosted Flakes Is Going On, and one of the reasons for that is that nobody even knows for sure what it means to watch television anymore.\u003c/p>\n\u003cp>Let’s take a quick romp through an existential crisis on which we touched previously: What even \u003cem>is\u003c/em> television? (If you said “a vast wasteland,” you may be watching the television of many years ago and I’d like to borrow your time machine and take a mulligan on a certain sixth-grade dance.)\u003c/p>\n\u003cp>Consider a regular episode of a regular show that runs on a regular channel like HBO or CBS or SyFy. Let’s run down the number of ways a person might watch that episode. No show is going to be available in every one of these ways, of course, but there are shows where lots and lots of them are possible, and while some of them are similar, they actually all can raise slightly different challenges when you’re making, monetizing, and marketing television, not to mention measuring its audience.\u003c/p>\n\u003cp>[A side point: “Monetize” is a terrible word; it is only human that it should make your blood turn briefly to acid and your body tense and your teeth vibrate as if the high-pitched squeal of malfunctioning audio equipment is accompanying you everywhere you go. But it’s also a handy way to pull in the many, many ways in which people try to make money from television, which include subscriptions to cable, subscriptions to online services, money from ads, individual episode purchases, other revenue streams like merchandise and songs from musical episodes, and on and on.]\u003c/p>\n\u003cp>So here we go.\u003c/p>\n\u003col>\n\u003cli>Using an antenna and receiving the show over the air at the time it’s first on, which is not only still possible for many of TV’s most popular shows, but could increase in popularity for people who stop paying for cable subscriptions.\u003c/li>\n\u003cli>Using a cable subscription and watching it on cable (and when I say “cable” in this list, you can assume that means “cable or satellite”) at the time it’s first on, using your television.\u003c/li>\n\u003cli>Watching it on your phone, tablet or computer, using an app or a piece of hardware that lets you stream or transfer your cable TV from your physical television to other devices.\u003c/li>\n\u003cli>Recording it on a DVR and watching it within a day or two.\u003c/li>\n\u003cli>Recording it on a DVR and watching it months later.\u003c/li>\n\u003cli>Watching a re-airing on the same network in the same week.\u003c/li>\n\u003cli>Watching a re-airing on the same network weeks or months later. (These are reruns. They are much less dependably available than they were 20 years ago.)\u003c/li>\n\u003cli>Watching it someday in syndication.\u003c/li>\n\u003cli>Watching it on demand through your cable provider (like Comcast or Time Warner).\u003c/li>\n\u003cli>Paying for an a la carte single-network service, like the HBO NOW service that recently premiered, that serves programming to a set-top box or other device without a cable subscription.\u003c/li>\n\u003cli>Paying for a package of channels that can be streamed without a cable subscription, like the recently launched Sling TV.\u003c/li>\n\u003cli>Using a third-party service like Hulu with a subscription to the service (which often means shows are available pretty quickly after air).\u003c/li>\n\u003cli>Using a third-party service like Hulu without a subscription to the service (which sometimes means a longer delay before the episode is available).\u003c/li>\n\u003cli>Using a third-party service like Hulu that separately allows side subscriptions to particular premium channels for an extra cost – Hulu has just debuted this model in a partnership with Showtime.\u003c/li>\n\u003cli>Using an app or web site owned by the network that doesn’t require a cable subscription sign-in, or an embed on another site of the video the network provides. (Like watching an episode of \u003cem>The Daily Show\u003c/em> on Comedy Central’s site or embedded on somebody else’s site.)\u003c/li>\n\u003cli>Using an app or web site owned by the network that requires that you log in with your cable subscription.\u003c/li>\n\u003cli>Purchasing the episode or the full season through a third-party seller like Amazon, Google or Apple and watching it on your computer.\u003c/li>\n\u003cli>Purchasing the episode or the full season through a third-party seller and watching it on a set-top box like Apple TV or Roku.\u003c/li>\n\u003cli>Purchasing the episode or the full season through a third-party seller and watching it on your phone or your tablet, either via download or streaming.\u003c/li>\n\u003cli>Waiting until it’s available free on a service like Amazon Prime, Hulu or Netflix and catching up then.\u003c/li>\n\u003cli>Buying a DVD set.\u003c/li>\n\u003cli>Checking DVDs out of the library.\u003c/li>\n\u003cli>Watching with a friend who has access through any of these methods.\u003c/li>\n\u003cli>Downloading a bootleg.\u003c/li>\n\u003cli>Watching a bootleg on YouTube or another similar service.\u003c/li>\n\u003c/ol>\n\u003cp>So that’s 25 that I can think of, 23 of them above-board (we’ll return in another piece to the two that aren’t). We are currently assuming you can’t stream television to a watch, and we are not counting Google Glass or consuming a show in the form of clips instead of full episodes (which is really common for, for instance, late-night and sketch shows). There are probably some I’m forgetting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But despite, or perhaps because of, this surfeit of options, this isn’t yet a smoothly functioning world of total flexibility, nor does it follow predictable rules. On the contrary, it’s often chaotic, and it can feel badly broken on the consumer side. Different shows appear on different schedules for different windows, with and without ads, free or for a price, appearing and disappearing unexpectedly. Availability changes not according to transparent rules like seasonality or logic but according to opaque ones like contract negotiations and shifting, overlapping partnerships tied to gruesome-sounding notions like corporate synergy.\u003c/p>\n\u003cp>Consumers often think about shows in terms of networks of origin, in part because that’s the way shows are still branded. It makes sense that you’d expect all shows that air on Fox or all shows that air on NBC to behave in the same way when it comes to availability, because they’re presented and marketed together as Fox shows or NBC shows. But the studio that actually makes the show and makes streaming deals may or may not be part of the network it airs on. Fun facts, for example: \u003cem>Brooklyn Nine-Nine \u003c/em>airs on Fox, but is made by Universal Television – the production arm of NBCUniversal. \u003cem>Modern Family\u003c/em> airs on ABC but is made by the production arm of 21\u003csup>st\u003c/sup> Century Fox. A whole bunch of television is made by Warner Brothers and Sony. So for the purposes of when and why a show is available other than over the air or on cable, it’s often far from obvious at whom you should even be mad if you can’t find it.\u003c/p>\n\u003cp>All these studios and all these networks are making different choices about what to make available and when. They make different gambles about what the right strategy is – about how much to give stuff away and how much to keep it for yourself. Should you try to pull everybody into your standalone app or service? Should you have lots of partners and give away your stuff in lots of places? Should you, as a network, try to make and own more of your shows in-house rather than licensing them from other studios? That last one is very popular, in part for the never-unpopular reason that it lets you keep all the money, and nothing drives television quite like The First Law Of Conservation Of Moolah. (It also often sheds light on why borderline shows are renewed or not – again in ways that aren’t necessarily transparent to viewers.)\u003c/p>\n\u003cp>Making all of these deals gets complicated, and it leads to all kinds of suboptimal splintering. In fact, in some cases, the tail of distribution wags the dog of content creation: Ted Sarandos from Netflix said that their desire to get into making original programming wasn’t merely about a new world to conquer; it was also a helpful answer to how increasingly hard it is to wrangle acquisition and get exclusivity when you’re making streaming deals for other people’s stuff, particularly if you get into international markets. If your model is based on acting as a purveyor, why not just make shows yourself that you own and can stream around the world instead of fighting with Hulu and Amazon and whatever studio made the show over who gets to stream it in Japan?\u003c/p>\n\u003cp>Add, on top of these complications, the fact that there’s still a huge struggle to measure who’s watching all these shows in all these ways, not to mention which of those viewings are actually worth money. Last year at around this time, \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/07/22/334048059/audience-measurement-how-networks-and-critics-are-wrestling-with-numbers\" target=\"_blank\" rel=\"noopener\">we talked about audience measurement\u003c/a> in ways that are mostly still applicable: mobile is hard to count, time-shifting complicates the usefulness of same-day ratings, and so forth. The question came up this year in a briefing with the audience research folks at CBS: with everything we know and everything we can track, why is it so hard to just get one number that represents how many people watch something?\u003c/p>\n\u003cp>The answer was essentially that in large part, \u003cem>they don’t care\u003c/em> what the total number is, because it’s not that useful. From a business perspective, knowing the total number of eyeballs pointed at something was useful when you were making money off all those eyeballs in the same way. But it’s not actually that useful to count DVR viewers together with live viewers together with same-week Hulu viewers and mobile app viewers, because advertisers are only dealing with some of those platforms at a time, and they may well be less interested in DVR viewers who skip ads, for instance. (Although my favorite statistic of press tour was CBS’s David Poltrack saying that they find that only about 50 percent of DVR ads are fast-forwarded through. 50 percent are allowed to run, which he connected to the fact that people are also on other screens at the same time, meaning they are \u003cem>too distracted to press the button on the remote\u003c/em>.) So the reason they don’t provide a total number is that they don’t really care about a total number; it’s nice for talking about cultural trends but not worth much for business, which is what ratings have always been for.\u003c/p>\n\u003cp>Consider all this talk about distribution methods not in a vacuum but in combination with the \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/08/16/432458841/television-2015-is-there-really-too-much-tv\" target=\"_blank\" rel=\"noopener\">laments we discussed\u003c/a> about how hard it is to get attention for good shows in a crowded marketplace. One example and a personal story: the FX comedy \u003cem>You’re The Worst\u003c/em> – about to move to FX’s sister network FXX for a second season starting September 9 – didn’t get huge ratings in its first season. It did, however, get a ton of critical praise, making it precisely the kind of show network executives are always trying to get people to reconsider.\u003c/p>\n\u003cp>But this summer, I was trying to catch up with it. I have what amounts to platinum cable that I pay for. I own a lot of devices that I’ve paid for. I subscribe to a lot of services that I pay for. And I couldn’t figure out how to see this show other than buying individual episodes to own forever, which was more of a commitment than I was seeking. Maybe there was a way, but I’m a reasonably decent navigator and I couldn’t find one. It wasn’t on the FX app, it wasn’t on demand through Comcast, and it wasn’t available for streaming on Hulu until August 10. Buying is always an option, of course, but when people are already paying for cable to get a particular channel \u003cem>and \u003c/em>for services that provide access to shows, it’s a lot to ask them to pay two bucks a pop on top of everything else to own episodes of a half-hour show they’re currently getting along without – at the same time the network CEO is frustrated that nobody will give anything a second chance and there’s too much competition.\u003c/p>\n\u003cp>I was bored and willing in this case, and while that’s a not-ideal reason to pick up a human in a bar, it’s a pretty good reason to pick up a television show on the internet.\u003c/p>\n\u003cp>The point of this is only to say that options for TV viewing theoretically existing in form is not the same as those options existing in practice, which means you never know when the request for more money will pop up to take them from one to the other.\u003c/p>\n\u003cp>The topic of cord-cutting – of people doing away with cable and getting by with broadband and broadcast – is eternally popular to rhapsodize about, in part because it seems to promise an \u003cem>a la carte \u003c/em>world of convenience and freedom. And for some people, it absolutely does; it’s particularly nice for people who don’t watch much TV and don’t care whether what they watch is current.\u003c/p>\n\u003cp>But look again at that list of 25 ways to watch television, and consider how many potential entry points there are for your dollar even aside from cable: your device, your broadband, your service, your app. We know with reasonable certainty that in ten years, we will be looking at a different landscape. Will it be a more friendly one or a cheaper one? Not to be a cynic, but if we apply a gambling metaphor, the identity of the house hasn’t changed that much, so you have to at least \u003cem>consider \u003c/em>the possibility that as long as you want in on this particular game, the house will continue to win. Who supplies most people’s broadband? Who supplies their tech?\u003c/p>\n\u003cp>Ultimately, the same people who make money from the way you used to watch TV in the past are, make no mistake, working very hard to make sure they will be the people who make money from the way you will watch TV in the future. Even as services like Sling TV and HBO NOW pull away from building everything on top of a cable subscription, and even as they come up with the 26\u003csup>th\u003c/sup> and 27\u003csup>th\u003c/sup> and 35\u003csup>th\u003c/sup> way to watch, the object remains the same. And it is to entertain you, perhaps to enrich you, and absolutely to charge you.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/08/17/432569378/television-2015-full-drops-and-single-shots\" target=\"_blank\" rel=\"noopener\">Dropping episodes all at once or one at a time\u003c/a>; \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/08/16/432458841/television-2015-is-there-really-too-much-tv\" target=\"_blank\" rel=\"noopener\">Is there really too much television?\u003c/a> Next: Brands, huh! What are they good for?\u003c/em> \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=Television+2015%3A+With+25+Ways+To+Watch+TV%2C+Does+The+House+Always+Win%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "There are so many ways to watch TV now that people often feel liberated from old models. But even under some of the new systems for television, as at your better casinos, the house always wins.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is one in a series of essays running this week and next about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters.\u003c/em>\u003c/p>\n\u003cp>It is a secret only intermittently discussed that the anointed Golden Age Of Television is also very often The Golden Age Of Nobody Knowing What The Frosted Flakes Is Going On, and one of the reasons for that is that nobody even knows for sure what it means to watch television anymore.\u003c/p>\n\u003cp>Let’s take a quick romp through an existential crisis on which we touched previously: What even \u003cem>is\u003c/em> television? (If you said “a vast wasteland,” you may be watching the television of many years ago and I’d like to borrow your time machine and take a mulligan on a certain sixth-grade dance.)\u003c/p>\n\u003cp>Consider a regular episode of a regular show that runs on a regular channel like HBO or CBS or SyFy. Let’s run down the number of ways a person might watch that episode. No show is going to be available in every one of these ways, of course, but there are shows where lots and lots of them are possible, and while some of them are similar, they actually all can raise slightly different challenges when you’re making, monetizing, and marketing television, not to mention measuring its audience.\u003c/p>\n\u003cp>[A side point: “Monetize” is a terrible word; it is only human that it should make your blood turn briefly to acid and your body tense and your teeth vibrate as if the high-pitched squeal of malfunctioning audio equipment is accompanying you everywhere you go. But it’s also a handy way to pull in the many, many ways in which people try to make money from television, which include subscriptions to cable, subscriptions to online services, money from ads, individual episode purchases, other revenue streams like merchandise and songs from musical episodes, and on and on.]\u003c/p>\n\u003cp>So here we go.\u003c/p>\n\u003col>\n\u003cli>Using an antenna and receiving the show over the air at the time it’s first on, which is not only still possible for many of TV’s most popular shows, but could increase in popularity for people who stop paying for cable subscriptions.\u003c/li>\n\u003cli>Using a cable subscription and watching it on cable (and when I say “cable” in this list, you can assume that means “cable or satellite”) at the time it’s first on, using your television.\u003c/li>\n\u003cli>Watching it on your phone, tablet or computer, using an app or a piece of hardware that lets you stream or transfer your cable TV from your physical television to other devices.\u003c/li>\n\u003cli>Recording it on a DVR and watching it within a day or two.\u003c/li>\n\u003cli>Recording it on a DVR and watching it months later.\u003c/li>\n\u003cli>Watching a re-airing on the same network in the same week.\u003c/li>\n\u003cli>Watching a re-airing on the same network weeks or months later. (These are reruns. They are much less dependably available than they were 20 years ago.)\u003c/li>\n\u003cli>Watching it someday in syndication.\u003c/li>\n\u003cli>Watching it on demand through your cable provider (like Comcast or Time Warner).\u003c/li>\n\u003cli>Paying for an a la carte single-network service, like the HBO NOW service that recently premiered, that serves programming to a set-top box or other device without a cable subscription.\u003c/li>\n\u003cli>Paying for a package of channels that can be streamed without a cable subscription, like the recently launched Sling TV.\u003c/li>\n\u003cli>Using a third-party service like Hulu with a subscription to the service (which often means shows are available pretty quickly after air).\u003c/li>\n\u003cli>Using a third-party service like Hulu without a subscription to the service (which sometimes means a longer delay before the episode is available).\u003c/li>\n\u003cli>Using a third-party service like Hulu that separately allows side subscriptions to particular premium channels for an extra cost – Hulu has just debuted this model in a partnership with Showtime.\u003c/li>\n\u003cli>Using an app or web site owned by the network that doesn’t require a cable subscription sign-in, or an embed on another site of the video the network provides. (Like watching an episode of \u003cem>The Daily Show\u003c/em> on Comedy Central’s site or embedded on somebody else’s site.)\u003c/li>\n\u003cli>Using an app or web site owned by the network that requires that you log in with your cable subscription.\u003c/li>\n\u003cli>Purchasing the episode or the full season through a third-party seller like Amazon, Google or Apple and watching it on your computer.\u003c/li>\n\u003cli>Purchasing the episode or the full season through a third-party seller and watching it on a set-top box like Apple TV or Roku.\u003c/li>\n\u003cli>Purchasing the episode or the full season through a third-party seller and watching it on your phone or your tablet, either via download or streaming.\u003c/li>\n\u003cli>Waiting until it’s available free on a service like Amazon Prime, Hulu or Netflix and catching up then.\u003c/li>\n\u003cli>Buying a DVD set.\u003c/li>\n\u003cli>Checking DVDs out of the library.\u003c/li>\n\u003cli>Watching with a friend who has access through any of these methods.\u003c/li>\n\u003cli>Downloading a bootleg.\u003c/li>\n\u003cli>Watching a bootleg on YouTube or another similar service.\u003c/li>\n\u003c/ol>\n\u003cp>So that’s 25 that I can think of, 23 of them above-board (we’ll return in another piece to the two that aren’t). We are currently assuming you can’t stream television to a watch, and we are not counting Google Glass or consuming a show in the form of clips instead of full episodes (which is really common for, for instance, late-night and sketch shows). There are probably some I’m forgetting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But despite, or perhaps because of, this surfeit of options, this isn’t yet a smoothly functioning world of total flexibility, nor does it follow predictable rules. On the contrary, it’s often chaotic, and it can feel badly broken on the consumer side. Different shows appear on different schedules for different windows, with and without ads, free or for a price, appearing and disappearing unexpectedly. Availability changes not according to transparent rules like seasonality or logic but according to opaque ones like contract negotiations and shifting, overlapping partnerships tied to gruesome-sounding notions like corporate synergy.\u003c/p>\n\u003cp>Consumers often think about shows in terms of networks of origin, in part because that’s the way shows are still branded. It makes sense that you’d expect all shows that air on Fox or all shows that air on NBC to behave in the same way when it comes to availability, because they’re presented and marketed together as Fox shows or NBC shows. But the studio that actually makes the show and makes streaming deals may or may not be part of the network it airs on. Fun facts, for example: \u003cem>Brooklyn Nine-Nine \u003c/em>airs on Fox, but is made by Universal Television – the production arm of NBCUniversal. \u003cem>Modern Family\u003c/em> airs on ABC but is made by the production arm of 21\u003csup>st\u003c/sup> Century Fox. A whole bunch of television is made by Warner Brothers and Sony. So for the purposes of when and why a show is available other than over the air or on cable, it’s often far from obvious at whom you should even be mad if you can’t find it.\u003c/p>\n\u003cp>All these studios and all these networks are making different choices about what to make available and when. They make different gambles about what the right strategy is – about how much to give stuff away and how much to keep it for yourself. Should you try to pull everybody into your standalone app or service? Should you have lots of partners and give away your stuff in lots of places? Should you, as a network, try to make and own more of your shows in-house rather than licensing them from other studios? That last one is very popular, in part for the never-unpopular reason that it lets you keep all the money, and nothing drives television quite like The First Law Of Conservation Of Moolah. (It also often sheds light on why borderline shows are renewed or not – again in ways that aren’t necessarily transparent to viewers.)\u003c/p>\n\u003cp>Making all of these deals gets complicated, and it leads to all kinds of suboptimal splintering. In fact, in some cases, the tail of distribution wags the dog of content creation: Ted Sarandos from Netflix said that their desire to get into making original programming wasn’t merely about a new world to conquer; it was also a helpful answer to how increasingly hard it is to wrangle acquisition and get exclusivity when you’re making streaming deals for other people’s stuff, particularly if you get into international markets. If your model is based on acting as a purveyor, why not just make shows yourself that you own and can stream around the world instead of fighting with Hulu and Amazon and whatever studio made the show over who gets to stream it in Japan?\u003c/p>\n\u003cp>Add, on top of these complications, the fact that there’s still a huge struggle to measure who’s watching all these shows in all these ways, not to mention which of those viewings are actually worth money. Last year at around this time, \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/07/22/334048059/audience-measurement-how-networks-and-critics-are-wrestling-with-numbers\" target=\"_blank\" rel=\"noopener\">we talked about audience measurement\u003c/a> in ways that are mostly still applicable: mobile is hard to count, time-shifting complicates the usefulness of same-day ratings, and so forth. The question came up this year in a briefing with the audience research folks at CBS: with everything we know and everything we can track, why is it so hard to just get one number that represents how many people watch something?\u003c/p>\n\u003cp>The answer was essentially that in large part, \u003cem>they don’t care\u003c/em> what the total number is, because it’s not that useful. From a business perspective, knowing the total number of eyeballs pointed at something was useful when you were making money off all those eyeballs in the same way. But it’s not actually that useful to count DVR viewers together with live viewers together with same-week Hulu viewers and mobile app viewers, because advertisers are only dealing with some of those platforms at a time, and they may well be less interested in DVR viewers who skip ads, for instance. (Although my favorite statistic of press tour was CBS’s David Poltrack saying that they find that only about 50 percent of DVR ads are fast-forwarded through. 50 percent are allowed to run, which he connected to the fact that people are also on other screens at the same time, meaning they are \u003cem>too distracted to press the button on the remote\u003c/em>.) So the reason they don’t provide a total number is that they don’t really care about a total number; it’s nice for talking about cultural trends but not worth much for business, which is what ratings have always been for.\u003c/p>\n\u003cp>Consider all this talk about distribution methods not in a vacuum but in combination with the \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/08/16/432458841/television-2015-is-there-really-too-much-tv\" target=\"_blank\" rel=\"noopener\">laments we discussed\u003c/a> about how hard it is to get attention for good shows in a crowded marketplace. One example and a personal story: the FX comedy \u003cem>You’re The Worst\u003c/em> – about to move to FX’s sister network FXX for a second season starting September 9 – didn’t get huge ratings in its first season. It did, however, get a ton of critical praise, making it precisely the kind of show network executives are always trying to get people to reconsider.\u003c/p>\n\u003cp>But this summer, I was trying to catch up with it. I have what amounts to platinum cable that I pay for. I own a lot of devices that I’ve paid for. I subscribe to a lot of services that I pay for. And I couldn’t figure out how to see this show other than buying individual episodes to own forever, which was more of a commitment than I was seeking. Maybe there was a way, but I’m a reasonably decent navigator and I couldn’t find one. It wasn’t on the FX app, it wasn’t on demand through Comcast, and it wasn’t available for streaming on Hulu until August 10. Buying is always an option, of course, but when people are already paying for cable to get a particular channel \u003cem>and \u003c/em>for services that provide access to shows, it’s a lot to ask them to pay two bucks a pop on top of everything else to own episodes of a half-hour show they’re currently getting along without – at the same time the network CEO is frustrated that nobody will give anything a second chance and there’s too much competition.\u003c/p>\n\u003cp>I was bored and willing in this case, and while that’s a not-ideal reason to pick up a human in a bar, it’s a pretty good reason to pick up a television show on the internet.\u003c/p>\n\u003cp>The point of this is only to say that options for TV viewing theoretically existing in form is not the same as those options existing in practice, which means you never know when the request for more money will pop up to take them from one to the other.\u003c/p>\n\u003cp>The topic of cord-cutting – of people doing away with cable and getting by with broadband and broadcast – is eternally popular to rhapsodize about, in part because it seems to promise an \u003cem>a la carte \u003c/em>world of convenience and freedom. And for some people, it absolutely does; it’s particularly nice for people who don’t watch much TV and don’t care whether what they watch is current.\u003c/p>\n\u003cp>But look again at that list of 25 ways to watch television, and consider how many potential entry points there are for your dollar even aside from cable: your device, your broadband, your service, your app. We know with reasonable certainty that in ten years, we will be looking at a different landscape. Will it be a more friendly one or a cheaper one? Not to be a cynic, but if we apply a gambling metaphor, the identity of the house hasn’t changed that much, so you have to at least \u003cem>consider \u003c/em>the possibility that as long as you want in on this particular game, the house will continue to win. Who supplies most people’s broadband? Who supplies their tech?\u003c/p>\n\u003cp>Ultimately, the same people who make money from the way you used to watch TV in the past are, make no mistake, working very hard to make sure they will be the people who make money from the way you will watch TV in the future. Even as services like Sling TV and HBO NOW pull away from building everything on top of a cable subscription, and even as they come up with the 26\u003csup>th\u003c/sup> and 27\u003csup>th\u003c/sup> and 35\u003csup>th\u003c/sup> way to watch, the object remains the same. And it is to entertain you, perhaps to enrich you, and absolutely to charge you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/08/17/432569378/television-2015-full-drops-and-single-shots\" target=\"_blank\" rel=\"noopener\">Dropping episodes all at once or one at a time\u003c/a>; \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/08/16/432458841/television-2015-is-there-really-too-much-tv\" target=\"_blank\" rel=\"noopener\">Is there really too much television?\u003c/a> Next: Brands, huh! What are they good for?\u003c/em> \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=Television+2015%3A+With+25+Ways+To+Watch+TV%2C+Does+The+House+Always+Win%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Those of us who grew up in the '90s were subjected to a lot of messaging around staying away from drugs. There was the D.A.R.E. program at school, which used a chill dog and a coloring book to make drug users seem like \u003ca href=\"https://www.youtube.com/watch?v=BYP_mcQ_aKs\" target=\"_blank\">a villain from a Care Bears movie\u003c/a> (I strongly suggest you click that link). And there was the famous Rachael Leigh Cook-freaks-out-on-an-innocent-egg-with-a-frying-pan PSA. Drugs = very, very bad. Got it. Stop scaring me.\u003c/p>\n\u003cp>But the Philadelphia Police Department is taking a different approach. To get the message across, they unearthed a clip from a 1991 \u003cem>Saved by the Bell\u003c/em> episode (because that show is super relevant to today's young people), in which Zack says: \"In one word, would I use dope? Nope.\" Nice zinger, Morris. But then it gets even weirder; a poorly cropped photo of Police Commissioner Charles H. Ramsey floats over the face of NBC executive Brandon Tartikoff, while an abrupt voiceover introduces him. It's accidentally genius in all of its low-budget glory.\u003c/p>\n\u003cp>The Philly PD’s social media manager, Sgt. Eric Gripp, originally wanted to replace the entire cast with members of the force, but packed schedules got in the way. “I just got tired of waiting and crudely pasted the commissioners face over the original video,” he \u003ca href=\"http://www.nydailynews.com/entertainment/gossip/philly-police-saved-bell-clip-drug-psa-article-1.2328914?utm_content=buffer45671&utm_medium=social&utm_source=twitter.com&utm_campaign=NYDailyNewsTw\" target=\"_blank\">told the \u003cem>NY Daily News\u003c/em>\u003c/a>. Okay, this dude sounds awesome. How many times have you been fed up while working on a group project? \"Too many\" is the only answer. Dear Mr. Gripp, on behalf of the entire Internet, I thank you for this and commend your go-getter attitude.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cmiR7zpOqnY\u003c/p>\n\u003cp>If you enjoyed that weirdness, you'll also probably like what the Philly Police Department did with this super long Sizzler ad:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=160&v=Byx3UGIHGJ4\u003c/p>\n\n",
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"content": "\u003cp>In case you were in deep denial about \u003cem>Downton Abbey\u003c/em> coming to an end after its upcoming sixth and final season, the press photo above should bring it home for you. The sun is literally setting on Downton! And this isn't the only sneak peek into what's in store. Carnival Film & Television Ltd also released a handful of other new photos. Let's overanalyze them!\u003c/p>\n\u003cp>But before we move on from the cast photo, can we pour one out for the people not pictured? Branson and baby Sybbie are in America. So is Rose and her new Jewish husband, presumably. And, as always, R.I.P. Sybil and Isis, the dog (*cue Elton John's \"Candle in the Wind\"*).\u003c/p>\n\u003cfigure id=\"attachment_17623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17623\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Mirror, mirror on the wall, who's the greatest of them all? \u003cem>You, duh\u003c/em>, the mirror likely replies. The Dowager \u003cem>is\u003c/em> this show. Everyone else is just decoration. She's obviously practicing her angles here or thinking about that flirty Russian or maybe this is the Mirror of Erised from \u003cem>Harry Potter\u003c/em> (you know, the one that shows one's truest desires). She sees herself because what more could she want than to continue being her bad ass self?\u003c/p>\n\u003cfigure id=\"attachment_17624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17624\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Edith smiles through the pain for another year, while secretly plotting to torch the Abbey with everyone in it. Mary also is secretly plotting to do the same thing. Meanwhile, Cora smiles, thinking about getting a divorce and going to find that artsy London dude.\u003c/p>\n\u003cfigure id=\"attachment_17625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17625\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Ladies Night 1927! This friendship is a precursor to \u003ca href=\"https://www.youtube.com/watch?v=QoQwdzKm7hk\" target=\"_blank\">Lil Kim's opus \"Ladies Night.\"\u003c/a> Women supporting each other and talking about their dreams instead of men.\u003c/p>\n\u003cfigure id=\"attachment_17626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17626\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Lord Grantham's storyline this year will be what it always is: Waaaahhh, having a trust fund is hard, I feel oppressed and grumpy! Next!\u003c/p>\n\u003cfigure id=\"attachment_17627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17627\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Look at this I-don't-need-a-man-or-his-bratty-sons-to-be-happy empowerment! Every time Beyonce sings \"All the women who independent, throw your hands up at me,\" she's thinking of Isobel.\u003c/p>\n\u003cfigure id=\"attachment_17628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17628\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Lock this saccharine duo up please. Or have them move away to a cute cottage. I don't care, just get them away from me. Sorry, Anna, you are who you hang out with.\u003c/p>\n\u003cfigure id=\"attachment_17629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17629\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Now here's a couple I can get behind! They're finally dating! What can we expect? Cute scented love notes, excessive hand holding and long ambles through the countryside, to be sure. But maybe also a hot tub scene? Just putting it out into the universe. I have a dream.\u003c/p>\n\u003cfigure id=\"attachment_17630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x.jpg\">\u003cimg class=\"size-medium wp-image-17630\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x.jpg 805w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe they are using their experience at Downton to play footmen in a Hollywood movie. They're famous and rich and live in LA now! No more toiling! Thomas can find other gays to hang out with! And Molesley can find non-shoe-polish hair dye! Everyone wins. The end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The first photos from Downton Abbey's final season are here! Let's figure out what they mean!",
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"title": "Downton Abbey: Let’s Wildly Speculate about the First Photos from the 6th and Final Season! | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you were in deep denial about \u003cem>Downton Abbey\u003c/em> coming to an end after its upcoming sixth and final season, the press photo above should bring it home for you. The sun is literally setting on Downton! And this isn't the only sneak peek into what's in store. Carnival Film & Television Ltd also released a handful of other new photos. Let's overanalyze them!\u003c/p>\n\u003cp>But before we move on from the cast photo, can we pour one out for the people not pictured? Branson and baby Sybbie are in America. So is Rose and her new Jewish husband, presumably. And, as always, R.I.P. Sybil and Isis, the dog (*cue Elton John's \"Candle in the Wind\"*).\u003c/p>\n\u003cfigure id=\"attachment_17623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17623\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-violet.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Mirror, mirror on the wall, who's the greatest of them all? \u003cem>You, duh\u003c/em>, the mirror likely replies. The Dowager \u003cem>is\u003c/em> this show. Everyone else is just decoration. She's obviously practicing her angles here or thinking about that flirty Russian or maybe this is the Mirror of Erised from \u003cem>Harry Potter\u003c/em> (you know, the one that shows one's truest desires). She sees herself because what more could she want than to continue being her bad ass self?\u003c/p>\n\u003cfigure id=\"attachment_17624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17624\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-edith.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Edith smiles through the pain for another year, while secretly plotting to torch the Abbey with everyone in it. Mary also is secretly plotting to do the same thing. Meanwhile, Cora smiles, thinking about getting a divorce and going to find that artsy London dude.\u003c/p>\n\u003cfigure id=\"attachment_17625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17625\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-hughes.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Ladies Night 1927! This friendship is a precursor to \u003ca href=\"https://www.youtube.com/watch?v=QoQwdzKm7hk\" target=\"_blank\">Lil Kim's opus \"Ladies Night.\"\u003c/a> Women supporting each other and talking about their dreams instead of men.\u003c/p>\n\u003cfigure id=\"attachment_17626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17626\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-robert.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Lord Grantham's storyline this year will be what it always is: Waaaahhh, having a trust fund is hard, I feel oppressed and grumpy! Next!\u003c/p>\n\u003cfigure id=\"attachment_17627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17627\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-isobel.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Look at this I-don't-need-a-man-or-his-bratty-sons-to-be-happy empowerment! Every time Beyonce sings \"All the women who independent, throw your hands up at me,\" she's thinking of Isobel.\u003c/p>\n\u003cfigure id=\"attachment_17628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17628\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-annabates.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Lock this saccharine duo up please. Or have them move away to a cute cottage. I don't care, just get them away from me. Sorry, Anna, you are who you hang out with.\u003c/p>\n\u003cfigure id=\"attachment_17629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x.jpg\">\u003cimg class=\"size-medium wp-image-17629\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-carter.w1847.h1231.2x.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Now here's a couple I can get behind! They're finally dating! What can we expect? Cute scented love notes, excessive hand holding and long ambles through the countryside, to be sure. But maybe also a hot tub scene? Just putting it out into the universe. I have a dream.\u003c/p>\n\u003cfigure id=\"attachment_17630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x.jpg\">\u003cimg class=\"size-medium wp-image-17630\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x-800x533.jpg\" alt=\"Photo: Carnival Film & Television Ltd\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/08/13-downton-barrow.w529.h352.2x.jpg 805w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Carnival Film & Television Ltd\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe they are using their experience at Downton to play footmen in a Hollywood movie. They're famous and rich and live in LA now! No more toiling! Thomas can find other gays to hang out with! And Molesley can find non-shoe-polish hair dye! Everyone wins. The end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s almost impossible to enter the blogosphere these days without encountering the latest about how universities continue to mishandle rape cases. There are countless articles and entire books dedicated to parsing what’s gone wrong on college campuses across the nation, and how to better handle things going forward.\u003c/p>\n\u003cp>For instance, this past April saw the release of Jon Krakauer’s \u003cem>Missoula: Rape and the Justice System in a College Town\u003c/em>, a book that details the inadequate handling of sexual assault cases committed against female college students in Missoula, Montana over the course of two years. We’ve spent the past academic year watching Columbia student Emma Sulkowicz, who many consider to be the face of the college anti-rape movement, drag her mattress all across campus in protest of Columbia’s failure to expel her alleged rapist. In fact, in a recent \u003cem>LA Times\u003c/em> article, columnist Meghan Daum referred to the past school year as the “Year We Decided Women Aren’t Safe on College Campuses.”\u003c/p>\n\u003cp>With the term “rape culture” so heavy in today’s zeitgeist, it’s hard not to feel like we’re getting it wrong all the time. But I recently came across an example of a TV show that got it right...17 years ago.\u003c/p>\n\u003cp>Having missed it the first time around, I began watching the late ’90s/early 2000s WB hit \u003cem>Felicity\u003c/em>. When a rape scandal began to unfold early on in the first season, I braced myself for what I knew—or what I thought I knew—was about to get very ugly. So when the show handled the plotline well, I was pleasantly surprised—shocked even.\u003c/p>\n\u003cp>Things start out promising for Julie (Felicity’s BFF) and Zach (played by Devon Gummersall, who will always be Brian Krakow to me). They meet in the laundry room amidst Zach realizing he’s dyed all his clothes pink, as he hasn’t yet learned to separate colors from whites. Soon they’re dining in the cafeteria together, and going to see \u003cem>Solaris\u003c/em> at the Mercer. She watches his short film, which he later asks her to record music for.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There\u003cem> are\u003c/em> some signs that he’s a little weird, though. He reacts poorly when she critiques his film—even though he asks her to!—but eventually realizes his mistake and addresses it (he doesn’t actually ever apologize, though, which I almost missed). He’s a tad dramatic when she’s apprehensive about their first kiss and he responds by asking for a noose. And he gets a little momentarily aggressive in a subsequent make out sesh. But he’s also awesome. It turns out the reason Julie gets “really freaked out” when Zach kisses her is because, she tells him later, “You treat me like an actual person,” which is something she’s obviously not used to from a suitor. Felicity even tells Julie that she’s jealous of her and Zach’s “whole situation.”\u003c/p>\n\u003cp>When, just a few scenes later, we watch Julie and Zach giggle their way back to her dorm room after recording music and going out—Zach has a token beer in his hand, of course!—we don’t know what’s in store. They kiss into her room, and he shuts the door behind them, ending the scene.\u003c/p>\n\u003cp>Next, we see Julie in her room folding laundry and looking despondent; she eventually tells Felicity, and then a doctor at the hospital, what happened that night with Zach. This includes that their hooking up started out as consensual and switched in the middle. Though Julie’s unsure if what happened was rape as she didn’t “scream” or “hit him,” and “he wasn’t violent,” her doctor confirms that indeed it was.\u003c/p>\n\u003cp>What’s so incredible about the story line is that there’s a lot of nuance and ambiguity in these relationships and interactions. Julie and Zach liked and even respected each other; they had a good thing going; they made out for half an hour before she said she didn’t want to have sex—but it was \u003cem>still\u003c/em> rape! Because that’s the thing—rape, and especially non-stranger rape (the most common kind)—is rarely black and white; and you don’t have to be an entirely bad guy to commit it. Admittedly, this is a somewhat difficult concept to follow, let alone get right on a television show, but the fact that \u003cem>Felicity\u003c/em> goes for it and nails it, and all the way back in 1998, no less, is nothing short of revolutionary.\u003c/p>\n\u003cp>And it’s not just the nuances of the relationship that \u003cem>Felicity \u003c/em>pegs; it’s the logistics too. Felicity and Noel (her RA and sometimes love interest) seek out a school counselor to find out what Julie’s options are, and the counselor very thoroughly spells out all the avenues she can take. Buoyed along by her friends’ encouragement, Julie eventually meets with the school counselor herself, and it’s implied that it’s in this meeting that Julie reports Zach, as the next time we see him he’s being pulled out of class.\u003c/p>\n\u003cp>While it takes Zach a while to grasp the magnitude of everything—he goes from clueless to defensive, at first—he eventually does, and the last conversation he and Julie have is surprisingly endearing. Julie, anxious that Zach doesn’t know what he’s in for, goes to tell him she’s fighting this, only to find him packing to leave school.\u003c/p>\n\u003cp>As they talk, he isn’t defensive; he admits that what happened was in fact rape even though he “didn’t attack [her]; [he] didn’t rip [her] clothes off,” mirroring back Julie's fears from earlier in the episode. He hands her a note he was going to leave her. “It says all the obvious stuff—how sorry I am, how horrible that night must have been for you, how I wish things would have happened \u003cem>very\u003c/em> differently.” He tells her it wasn’t her fault; he actually apologizes this time, using the words “I’m sorry” and everything. Julie says she’s sorry too; because she is. Not because she did anything wrong, but because she wishes it had gone down differently too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>In the end, Julie didn’t have to wait for a school court to decide her fate like Emma Sulkowicz and so many others, and she never had to testify. Whatever the dean of the university said to Zach in their meeting must have been pretty hardcore because he admitted to the dean—and then to his parents—that he was guilty.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Back in real time, as we struggle to figure out how to handle sexual assault complaints, and how to change the dating environments on our campuses, it appears \u003cem>Felicity\u003c/em>, though a seemingly unlikely candidate, may have the answers we’ve been searching for all along.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s almost impossible to enter the blogosphere these days without encountering the latest about how universities continue to mishandle rape cases. There are countless articles and entire books dedicated to parsing what’s gone wrong on college campuses across the nation, and how to better handle things going forward.\u003c/p>\n\u003cp>For instance, this past April saw the release of Jon Krakauer’s \u003cem>Missoula: Rape and the Justice System in a College Town\u003c/em>, a book that details the inadequate handling of sexual assault cases committed against female college students in Missoula, Montana over the course of two years. We’ve spent the past academic year watching Columbia student Emma Sulkowicz, who many consider to be the face of the college anti-rape movement, drag her mattress all across campus in protest of Columbia’s failure to expel her alleged rapist. In fact, in a recent \u003cem>LA Times\u003c/em> article, columnist Meghan Daum referred to the past school year as the “Year We Decided Women Aren’t Safe on College Campuses.”\u003c/p>\n\u003cp>With the term “rape culture” so heavy in today’s zeitgeist, it’s hard not to feel like we’re getting it wrong all the time. But I recently came across an example of a TV show that got it right...17 years ago.\u003c/p>\n\u003cp>Having missed it the first time around, I began watching the late ’90s/early 2000s WB hit \u003cem>Felicity\u003c/em>. When a rape scandal began to unfold early on in the first season, I braced myself for what I knew—or what I thought I knew—was about to get very ugly. So when the show handled the plotline well, I was pleasantly surprised—shocked even.\u003c/p>\n\u003cp>Things start out promising for Julie (Felicity’s BFF) and Zach (played by Devon Gummersall, who will always be Brian Krakow to me). They meet in the laundry room amidst Zach realizing he’s dyed all his clothes pink, as he hasn’t yet learned to separate colors from whites. Soon they’re dining in the cafeteria together, and going to see \u003cem>Solaris\u003c/em> at the Mercer. She watches his short film, which he later asks her to record music for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There\u003cem> are\u003c/em> some signs that he’s a little weird, though. He reacts poorly when she critiques his film—even though he asks her to!—but eventually realizes his mistake and addresses it (he doesn’t actually ever apologize, though, which I almost missed). He’s a tad dramatic when she’s apprehensive about their first kiss and he responds by asking for a noose. And he gets a little momentarily aggressive in a subsequent make out sesh. But he’s also awesome. It turns out the reason Julie gets “really freaked out” when Zach kisses her is because, she tells him later, “You treat me like an actual person,” which is something she’s obviously not used to from a suitor. Felicity even tells Julie that she’s jealous of her and Zach’s “whole situation.”\u003c/p>\n\u003cp>When, just a few scenes later, we watch Julie and Zach giggle their way back to her dorm room after recording music and going out—Zach has a token beer in his hand, of course!—we don’t know what’s in store. They kiss into her room, and he shuts the door behind them, ending the scene.\u003c/p>\n\u003cp>Next, we see Julie in her room folding laundry and looking despondent; she eventually tells Felicity, and then a doctor at the hospital, what happened that night with Zach. This includes that their hooking up started out as consensual and switched in the middle. Though Julie’s unsure if what happened was rape as she didn’t “scream” or “hit him,” and “he wasn’t violent,” her doctor confirms that indeed it was.\u003c/p>\n\u003cp>What’s so incredible about the story line is that there’s a lot of nuance and ambiguity in these relationships and interactions. Julie and Zach liked and even respected each other; they had a good thing going; they made out for half an hour before she said she didn’t want to have sex—but it was \u003cem>still\u003c/em> rape! Because that’s the thing—rape, and especially non-stranger rape (the most common kind)—is rarely black and white; and you don’t have to be an entirely bad guy to commit it. Admittedly, this is a somewhat difficult concept to follow, let alone get right on a television show, but the fact that \u003cem>Felicity\u003c/em> goes for it and nails it, and all the way back in 1998, no less, is nothing short of revolutionary.\u003c/p>\n\u003cp>And it’s not just the nuances of the relationship that \u003cem>Felicity \u003c/em>pegs; it’s the logistics too. Felicity and Noel (her RA and sometimes love interest) seek out a school counselor to find out what Julie’s options are, and the counselor very thoroughly spells out all the avenues she can take. Buoyed along by her friends’ encouragement, Julie eventually meets with the school counselor herself, and it’s implied that it’s in this meeting that Julie reports Zach, as the next time we see him he’s being pulled out of class.\u003c/p>\n\u003cp>While it takes Zach a while to grasp the magnitude of everything—he goes from clueless to defensive, at first—he eventually does, and the last conversation he and Julie have is surprisingly endearing. Julie, anxious that Zach doesn’t know what he’s in for, goes to tell him she’s fighting this, only to find him packing to leave school.\u003c/p>\n\u003cp>As they talk, he isn’t defensive; he admits that what happened was in fact rape even though he “didn’t attack [her]; [he] didn’t rip [her] clothes off,” mirroring back Julie's fears from earlier in the episode. He hands her a note he was going to leave her. “It says all the obvious stuff—how sorry I am, how horrible that night must have been for you, how I wish things would have happened \u003cem>very\u003c/em> differently.” He tells her it wasn’t her fault; he actually apologizes this time, using the words “I’m sorry” and everything. Julie says she’s sorry too; because she is. Not because she did anything wrong, but because she wishes it had gone down differently too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>In the end, Julie didn’t have to wait for a school court to decide her fate like Emma Sulkowicz and so many others, and she never had to testify. Whatever the dean of the university said to Zach in their meeting must have been pretty hardcore because he admitted to the dean—and then to his parents—that he was guilty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Reggie Watts, Man of Many Voices, Improvised His Way to Success",
"headTitle": "Reggie Watts, Man of Many Voices, Improvised His Way to Success | KQED",
"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BdHK_r9RXTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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