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"content": "\u003cp>When news first broke that Ncuti Gatwa \u003ca href=\"https://www.npr.org/2022/05/08/1097488412/ncuti-gatwa-doctor-who?utm_source=npr_newsletter&utm_medium=email&utm_content=20220513&utm_term=6700828&utm_campaign=pop-culture&utm_id=18014506&orgid=671&utm_att1=\" target=\"_blank\" rel=\"noopener noreferrer\">would be the new star\u003c/a> of the BBC’s long-running science fiction series \u003cem>Doctor Who\u003c/em>, it felt like an important step forward for the franchise.\u003c/p>\n\u003cp>After all, the show’s lead character—a time traveling alien thousands of years old known as The Doctor—has only been played by white people since the show’s inception in 1963.\u003c/p>\n\u003cp>[aside postid='pop_13273']Current star Jodie Whittaker became the first woman to star in the show just five years ago. And Gatwa, a Black man born in Rwanda and raised in Scotland who earned raves playing a gay high schooler on the Netflix series \u003cem>Sex Education\u003c/em>, seems poised to offer an even more revolutionary vision for one of TV’s most enduring science fiction characters.\u003c/p>\n\u003cp>That news was compounded by more announcements: David Tennant, who played a popular version of The Doctor from 2005 to 2010, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-61455936?xtor=AL-72-%5Bpartner%5D-%5Bbbc.news.twitter%5D-%5Bheadline%5D-%5Bnews%5D-%5Bbizdev%5D-%5Bisapi%5D&at_custom3=%40BBCNews&at_campaign=64&at_custom2=twitter&at_custom1=%5Bpost+type%5D&at_medium=custom7&at_custom4=FE1F63CA-D478-11EC-8C91-89BA4744363C\" target=\"_blank\" rel=\"noopener noreferrer\">will return\u003c/a> for the show’s 60th anniversary next year. He’ll be joined by Catherine Tate who played a popular sidekick to The Doctor—they’re known as “companions” on the show—Donna Noble.\u003c/p>\n\u003cp>And Yasmin Finney, last seen in Netflix’s popular British coming-of-age teen drama, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://variety.com/2022/tv/news/heartstopper-yasmin-finney-doctor-who-rose-tyler-1235268305/\" target=\"_blank\" rel=\"noopener noreferrer\">will join the cast\u003c/a> as one of the few openly transgender actors to appear on \u003cem>Doctor Who\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this will be guided by returning showrunner Russell T. Davies, who revived \u003cem>Doctor Who\u003c/em> in 2005 after a 16-year hiatus and left the series when Tennant did in 2010. With credits that include groundbreaking work like \u003cem>Queer as Folk\u003c/em> and \u003cem>It’s a Sin\u003c/em>, there seems little doubt that Davies plans on taking the show in directions it’s never traveled before.\u003c/p>\n\u003cp>And yet. As a longtime Whovian—that’s nerdspeak for a fan of the show—I’m left to wonder if the new \u003cem>Doctor Who\u003c/em> will fully take advantage of all the diversity in its new casting choices.\u003c/p>\n\u003cp>Specifically, I fear \u003cem>Doctor Who\u003c/em> may not really explore what it means to turn a Black man into one of Britain’s most beloved TV characters. Because, when the current production team had a chance to develop storylines around reimagining The Doctor as a woman, they often skirted the issue.\u003c/p>\n\u003ch3>Reimagining the show through regeneration\u003c/h3>\n\u003cp>For those unfamiliar with the show, \u003cem>Doctor Who\u003c/em> came up with an ingenious way to keep the series going in its early days, allowing the program to switch out its lead actors. The Doctor undergoes what’s called a “regeneration,” where he morphs into a new body, often with a different personality, accounting for his tremendously long life.\u003c/p>\n\u003cp>In practical terms, this storytelling device allows the show to change its star whenever necessary, fueling \u003cem>Doctor Who\u003c/em>‘s rise as a British TV institution and international phenomenon. And in 2017, Scottish actor Peter Capaldi departed the role as Whittaker took over.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m_cchDZGtwE\u003c/p>\n\u003cp>I’ll be honest, I haven’t been all that impressed with the episodes featuring Whittaker, crafted by current showrunner Chris Chibnall. Too often, it seems as if the show races through plotting and circumstances at breakneck speed, leaving me yearning for a little more time spent developing the characters.\u003c/p>\n\u003cp>No shade intended for the show’s actors—especially Whittaker, who has plunged into playing The Doctor with an appealing abandon. She nails every scene in a way that recalls the best characteristics of the classic Doctors, while also developing her own vision. Still, the show’s writing too often hasn’t matched her skill.\u003c/p>\n\u003cp>The series’ recent six-episode story arc, dubbed \u003cem>Flux\u003c/em>, featured The Doctor facing off against a cavalcade of bad guys, including two aliens who looked like they had crystals stuck to their faces, classic villains like the Weeping Angels, another murderous alien called The Grand Serpent and a character who claimed to be our hero’s adoptive mother. Even in a season aiming for an epic story, it felt a bit overstuffed.\u003c/p>\n\u003cp>[aside postid='pop_106360']To be sure, the core of \u003cem>Flux\u003c/em>‘s story turns on important revelations about The Doctor’s origin and life story. But it tumbles out in a rush, culminating with The Doctor’s decision—spoiler alert!—to turn away from an object which would allow her to access all the memories of her previous lives, closing the door on too much introspection and robbing the character of her biggest weapon: her experience.\u003c/p>\n\u003cp>What there wasn’t enough of—at least from my perspective—was a peek inside The Doctor’s own head. In the last special, \u003cem>Legend of the Sea Devils\u003c/em>, The Doctor turned down a romantic relationship with her companion, Mandip Gill’s steadfast Yasmin Khan, for fear of getting hurt. The wonderfully poignant scene was one of the few times we saw her inner life emerge—but almost as it was happening, she turned away.\u003c/p>\n\u003cp>One of my greatest joys in watching Whittaker’s predecessor, the wiry-browed Capaldi, was seeing him develop the Doctor from a curmudgeonly know-it-all with little patience for individual humanoids to a character who begrudgingly appreciated his connection to others. Especially his companions.\u003c/p>\n\u003cp>It’s something I’ve always felt was true about the best \u003cem>Doctor Who\u003c/em> storylines; The most interesting aspect of any episode is always The Doctor.\u003c/p>\n\u003cfigure id=\"attachment_13913567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/doctor-who-flux-1_wide-eef5162326205b50ab10ca6778717812b7febf39-800x450.jpe\" alt=\"A South Asian woman with hair pulled back, a white blonde woman and a white man with greying hair stand side by side, serious expressions on their faces.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Mandip Gill, Jodie Whittaker and John Bishop from the cast of ‘Doctor Who.’ \u003ccite>(James Pardon/BBC Studios/BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think about it: Even for a series which goes to the end of time and back, what could be more interesting than a super-intelligent, eccentrically charming, steadfastly moral alien who has seen it all and still cares? How that character views existence, danger, romance and societies is often the most exciting and revelatory element of my favorite episodes, including \u003cem>The Day of the Doctor—\u003c/em>a special episode featuring Tennant, Matt Smith and John Hurt as three different iterations of The Doctor working together.\u003c/p>\n\u003cp>Despite all the ground they have covered, the Chibnall/Whittaker episodes haven’t really connected with what it might mean to change the gender of a character who has been a man onscreen for nearly 60 years. This feels like something of an opportunity missed, muting the impact of such revolutionary casting.\u003c/p>\n\u003ch3>Why diversity matters on a show about an alien\u003c/h3>\n\u003cp>It may sound bizarre, worrying that a show about a time traveling alien doesn’t sufficiently explore gender or race on screen. But that is the unique vision of \u003cem>Doctor Who\u003c/em>; it’s a series that sends its characters to the end of the universe and time, yet grounds it all in a cheeky reflection of British culture.\u003c/p>\n\u003cp>It is, like so many of the best iterations of science fiction in media, a grand palette for exploring the current state of humanity. And centering the narrative on characters from groups previously marginalized by big, venerated franchises like\u003cem> Doctor Who\u003c/em>, requires more than just casting a new actor—it demands building a new character rooted in a new identity.\u003c/p>\n\u003cp>[aside postid='pop_92372']Davies is a skilled showrunner who has deftly handled depictions of race and identity in other series, so I remain hopeful these new casting decisions reflect a willingness to dig into the possibilities. (After \u003cem>Flux\u003c/em>, Whittaker and Chibnall have produced three \u003cem>Doctor Who\u003c/em> specials for this year, culminating with her final appearance in \u003ca href=\"https://www.digitalspy.com/tv/a39991185/doctor-who-jodie-whittaker-final-episode-runtime/\" target=\"_blank\" rel=\"noopener noreferrer\">a 90-minute finale\u003c/a> in October.)\u003c/p>\n\u003cp>Gatwa’s casting actually reminded me of an old joke a white comedian told to a Black friend about time machines—saying that he could go anywhere he wanted, but his friend could only travel back to about 1965 before he would have some serious problems.\u003c/p>\n\u003cp>I’m hopeful, in an odd way, that Gatwa’s version of The Doctor winds up reckoning with the painful reality behind that joke—particularly, how people of color and folks from LGBTQ communities have been treated throughout human history. And I can’t wait for the symbolic impact of seeing a Black man as the charismatic know-it-all with all the answers—a type of role far too often denied non-white performers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may not be quite as seismic as a Black actor playing James Bond. But for this Whovian of color—who has watched the show off and on since the mid-1970s—it’s close enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Doctor+Who%27+has+its+first+Black+lead.+Will+the+show+contend+with+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this will be guided by returning showrunner Russell T. Davies, who revived \u003cem>Doctor Who\u003c/em> in 2005 after a 16-year hiatus and left the series when Tennant did in 2010. With credits that include groundbreaking work like \u003cem>Queer as Folk\u003c/em> and \u003cem>It’s a Sin\u003c/em>, there seems little doubt that Davies plans on taking the show in directions it’s never traveled before.\u003c/p>\n\u003cp>And yet. As a longtime Whovian—that’s nerdspeak for a fan of the show—I’m left to wonder if the new \u003cem>Doctor Who\u003c/em> will fully take advantage of all the diversity in its new casting choices.\u003c/p>\n\u003cp>Specifically, I fear \u003cem>Doctor Who\u003c/em> may not really explore what it means to turn a Black man into one of Britain’s most beloved TV characters. Because, when the current production team had a chance to develop storylines around reimagining The Doctor as a woman, they often skirted the issue.\u003c/p>\n\u003ch3>Reimagining the show through regeneration\u003c/h3>\n\u003cp>For those unfamiliar with the show, \u003cem>Doctor Who\u003c/em> came up with an ingenious way to keep the series going in its early days, allowing the program to switch out its lead actors. The Doctor undergoes what’s called a “regeneration,” where he morphs into a new body, often with a different personality, accounting for his tremendously long life.\u003c/p>\n\u003cp>In practical terms, this storytelling device allows the show to change its star whenever necessary, fueling \u003cem>Doctor Who\u003c/em>‘s rise as a British TV institution and international phenomenon. And in 2017, Scottish actor Peter Capaldi departed the role as Whittaker took over.\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/m_cchDZGtwE'\n title='//www.youtube.com/embed/m_cchDZGtwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ll be honest, I haven’t been all that impressed with the episodes featuring Whittaker, crafted by current showrunner Chris Chibnall. Too often, it seems as if the show races through plotting and circumstances at breakneck speed, leaving me yearning for a little more time spent developing the characters.\u003c/p>\n\u003cp>No shade intended for the show’s actors—especially Whittaker, who has plunged into playing The Doctor with an appealing abandon. She nails every scene in a way that recalls the best characteristics of the classic Doctors, while also developing her own vision. Still, the show’s writing too often hasn’t matched her skill.\u003c/p>\n\u003cp>The series’ recent six-episode story arc, dubbed \u003cem>Flux\u003c/em>, featured The Doctor facing off against a cavalcade of bad guys, including two aliens who looked like they had crystals stuck to their faces, classic villains like the Weeping Angels, another murderous alien called The Grand Serpent and a character who claimed to be our hero’s adoptive mother. Even in a season aiming for an epic story, it felt a bit overstuffed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be sure, the core of \u003cem>Flux\u003c/em>‘s story turns on important revelations about The Doctor’s origin and life story. But it tumbles out in a rush, culminating with The Doctor’s decision—spoiler alert!—to turn away from an object which would allow her to access all the memories of her previous lives, closing the door on too much introspection and robbing the character of her biggest weapon: her experience.\u003c/p>\n\u003cp>What there wasn’t enough of—at least from my perspective—was a peek inside The Doctor’s own head. In the last special, \u003cem>Legend of the Sea Devils\u003c/em>, The Doctor turned down a romantic relationship with her companion, Mandip Gill’s steadfast Yasmin Khan, for fear of getting hurt. The wonderfully poignant scene was one of the few times we saw her inner life emerge—but almost as it was happening, she turned away.\u003c/p>\n\u003cp>One of my greatest joys in watching Whittaker’s predecessor, the wiry-browed Capaldi, was seeing him develop the Doctor from a curmudgeonly know-it-all with little patience for individual humanoids to a character who begrudgingly appreciated his connection to others. Especially his companions.\u003c/p>\n\u003cp>It’s something I’ve always felt was true about the best \u003cem>Doctor Who\u003c/em> storylines; The most interesting aspect of any episode is always The Doctor.\u003c/p>\n\u003cfigure id=\"attachment_13913567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/doctor-who-flux-1_wide-eef5162326205b50ab10ca6778717812b7febf39-800x450.jpe\" alt=\"A South Asian woman with hair pulled back, a white blonde woman and a white man with greying hair stand side by side, serious expressions on their faces.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Mandip Gill, Jodie Whittaker and John Bishop from the cast of ‘Doctor Who.’ \u003ccite>(James Pardon/BBC Studios/BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think about it: Even for a series which goes to the end of time and back, what could be more interesting than a super-intelligent, eccentrically charming, steadfastly moral alien who has seen it all and still cares? How that character views existence, danger, romance and societies is often the most exciting and revelatory element of my favorite episodes, including \u003cem>The Day of the Doctor—\u003c/em>a special episode featuring Tennant, Matt Smith and John Hurt as three different iterations of The Doctor working together.\u003c/p>\n\u003cp>Despite all the ground they have covered, the Chibnall/Whittaker episodes haven’t really connected with what it might mean to change the gender of a character who has been a man onscreen for nearly 60 years. This feels like something of an opportunity missed, muting the impact of such revolutionary casting.\u003c/p>\n\u003ch3>Why diversity matters on a show about an alien\u003c/h3>\n\u003cp>It may sound bizarre, worrying that a show about a time traveling alien doesn’t sufficiently explore gender or race on screen. But that is the unique vision of \u003cem>Doctor Who\u003c/em>; it’s a series that sends its characters to the end of the universe and time, yet grounds it all in a cheeky reflection of British culture.\u003c/p>\n\u003cp>It is, like so many of the best iterations of science fiction in media, a grand palette for exploring the current state of humanity. And centering the narrative on characters from groups previously marginalized by big, venerated franchises like\u003cem> Doctor Who\u003c/em>, requires more than just casting a new actor—it demands building a new character rooted in a new identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davies is a skilled showrunner who has deftly handled depictions of race and identity in other series, so I remain hopeful these new casting decisions reflect a willingness to dig into the possibilities. (After \u003cem>Flux\u003c/em>, Whittaker and Chibnall have produced three \u003cem>Doctor Who\u003c/em> specials for this year, culminating with her final appearance in \u003ca href=\"https://www.digitalspy.com/tv/a39991185/doctor-who-jodie-whittaker-final-episode-runtime/\" target=\"_blank\" rel=\"noopener noreferrer\">a 90-minute finale\u003c/a> in October.)\u003c/p>\n\u003cp>Gatwa’s casting actually reminded me of an old joke a white comedian told to a Black friend about time machines—saying that he could go anywhere he wanted, but his friend could only travel back to about 1965 before he would have some serious problems.\u003c/p>\n\u003cp>I’m hopeful, in an odd way, that Gatwa’s version of The Doctor winds up reckoning with the painful reality behind that joke—particularly, how people of color and folks from LGBTQ communities have been treated throughout human history. And I can’t wait for the symbolic impact of seeing a Black man as the charismatic know-it-all with all the answers—a type of role far too often denied non-white performers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may not be quite as seismic as a Black actor playing James Bond. But for this Whovian of color—who has watched the show off and on since the mid-1970s—it’s close enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Doctor+Who%27+has+its+first+Black+lead.+Will+the+show+contend+with+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Soothing 'Great Pottery Throw Down' Makes Great Isolation TV",
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"content": "\u003cp>It’s very easy to explain the appeal of \u003cem>The Great Pottery Throw Down\u003c/em>, which comes to HBO MAX on September 17: It’s \u003cem>The Great British Bake-Off\u003c/em>, but for pottery, and it has the same gentle, good-hearted energy.\u003c/p>\n\u003cp>\u003cem>Throw Down \u003c/em>began on the BBC in 2015, so there are three seasons in the queue, and HBO MAX has all of them. That’s six episodes from season one, eight from season two, and ten from season three. I gobbled all 24 episodes eagerly over the space of a few quarantined days.\u003c/p>\n\u003cp>The format is \u003cem>Bake-Off \u003c/em>(known to U.S. viewers as \u003cem>The Great British Baking Show \u003c/em>for legal reasons) with only very modest adjustments. A host (Sara Cox for the first two seasons, Melanie Sykes for the third) brings warmth and support, two judges (Keith Brymer Jones in all three seasons, joined by Kate Malone for two seasons and Sue Pryke in the third) evaluate the results, and a lineup of lovely contestants with a spirit of teamwork rather than cutthroat competition works through a series of challenges.\u003c/p>\n\u003cp>I know far less about pottery than I do about baking, but it didn’t matter. The host and judges are good at explaining what goes into making a beautiful pot or a graceful handle for a pitcher. Each episode has one major challenge, plus one or two smaller ones that are easy to incorporate into the progress of the episode, since large pieces of pottery take so much time to dry and fire. (This is a thing I know all about now, you know. Ask me about outdoor kilns and pit-firing!) When you think about pottery, you might be envisioning plates and cups and bowls, and there’s plenty of that. But the judges also challenge the potters to create large garden sculptures, light fixtures, and—intriguingly—working toilets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VwipdMH4UIg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the things pottery has in common with baking is suspense. Just as you never know whether a cake will rise until you put it in the oven, you often can’t tell whether a piece of pottery is structurally sound until it comes out of the kiln. The friendly kiln man in all three seasons, whose name is Rich, is responsible for carefully placing each piece in to be fired, and for returning the pieces to the potters, who only then discover whether a piece has developed cracks or, in some cases, very nearly blown up. Populating a show like this with friendly and appealing people makes that suspense both more meaningful (“Oh no! Poor James!”) and less devastating (“Well, they’ll all give him supportive hugs!”).\u003c/p>\n\u003cp>If I have a complaint—I should muster something, right?—it’s that the bigger the projects become, the more they are engineering feats and the less success relies on elements of expression. The perfect balance between knowing how to make a heavy object support itself and knowing how to put a gorgeous glaze on a vase is worthy of reward, but at times, the larger projects tip toward people who know how to do large-scale 3D modeling, which can get a little dry for my taste. I like watching the creation of a delicate teacup more than I do a sturdy base that won’t collapse—even knowing both are perfectly legitimate parts of pottery. This may be a matter of personal preference and doesn’t reflect a lack of respect for building; I have nothing but admiration for anyone who can hand-build a toilet. (A phrase I never expected to place in a review.)\u003c/p>\n\u003cfigure id=\"attachment_13886468\" class=\"wp-caption alignright\" style=\"max-width: 264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png\" alt=\"Does it get any better than romantic lens flare over a handmade toilet?\" width=\"264\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png 264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM-160x133.png 160w\" sizes=\"(max-width: 264px) 100vw, 264px\">\u003cfigcaption class=\"wp-caption-text\">Does it get any better than romantic lens flare over a handmade toilet? \u003ccite>(Love Productions/HBO MAX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Timing is everything with baking, and with pottery—and sometimes with television, too. I would have welcomed, at any time, the opportunity to couch out (you know what I mean) with such a pleasant celebration of crafts. But right now, these 24 episodes, which are gentle and decent and educational and serene, and which celebrate patience and beauty and the creation of things that are sturdy and will last, arrived like a shipment of fuzzy slippers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=VwipdMH4UIg\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Soothing+%27Great+Pottery+Throw+Down%27+Makes+Great+Isolation+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s very easy to explain the appeal of \u003cem>The Great Pottery Throw Down\u003c/em>, which comes to HBO MAX on September 17: It’s \u003cem>The Great British Bake-Off\u003c/em>, but for pottery, and it has the same gentle, good-hearted energy.\u003c/p>\n\u003cp>\u003cem>Throw Down \u003c/em>began on the BBC in 2015, so there are three seasons in the queue, and HBO MAX has all of them. That’s six episodes from season one, eight from season two, and ten from season three. I gobbled all 24 episodes eagerly over the space of a few quarantined days.\u003c/p>\n\u003cp>The format is \u003cem>Bake-Off \u003c/em>(known to U.S. viewers as \u003cem>The Great British Baking Show \u003c/em>for legal reasons) with only very modest adjustments. A host (Sara Cox for the first two seasons, Melanie Sykes for the third) brings warmth and support, two judges (Keith Brymer Jones in all three seasons, joined by Kate Malone for two seasons and Sue Pryke in the third) evaluate the results, and a lineup of lovely contestants with a spirit of teamwork rather than cutthroat competition works through a series of challenges.\u003c/p>\n\u003cp>I know far less about pottery than I do about baking, but it didn’t matter. The host and judges are good at explaining what goes into making a beautiful pot or a graceful handle for a pitcher. Each episode has one major challenge, plus one or two smaller ones that are easy to incorporate into the progress of the episode, since large pieces of pottery take so much time to dry and fire. (This is a thing I know all about now, you know. Ask me about outdoor kilns and pit-firing!) When you think about pottery, you might be envisioning plates and cups and bowls, and there’s plenty of that. But the judges also challenge the potters to create large garden sculptures, light fixtures, and—intriguingly—working toilets.\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/VwipdMH4UIg'\n title='//www.youtube.com/embed/VwipdMH4UIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things pottery has in common with baking is suspense. Just as you never know whether a cake will rise until you put it in the oven, you often can’t tell whether a piece of pottery is structurally sound until it comes out of the kiln. The friendly kiln man in all three seasons, whose name is Rich, is responsible for carefully placing each piece in to be fired, and for returning the pieces to the potters, who only then discover whether a piece has developed cracks or, in some cases, very nearly blown up. Populating a show like this with friendly and appealing people makes that suspense both more meaningful (“Oh no! Poor James!”) and less devastating (“Well, they’ll all give him supportive hugs!”).\u003c/p>\n\u003cp>If I have a complaint—I should muster something, right?—it’s that the bigger the projects become, the more they are engineering feats and the less success relies on elements of expression. The perfect balance between knowing how to make a heavy object support itself and knowing how to put a gorgeous glaze on a vase is worthy of reward, but at times, the larger projects tip toward people who know how to do large-scale 3D modeling, which can get a little dry for my taste. I like watching the creation of a delicate teacup more than I do a sturdy base that won’t collapse—even knowing both are perfectly legitimate parts of pottery. This may be a matter of personal preference and doesn’t reflect a lack of respect for building; I have nothing but admiration for anyone who can hand-build a toilet. (A phrase I never expected to place in a review.)\u003c/p>\n\u003cfigure id=\"attachment_13886468\" class=\"wp-caption alignright\" style=\"max-width: 264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png\" alt=\"Does it get any better than romantic lens flare over a handmade toilet?\" width=\"264\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png 264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM-160x133.png 160w\" sizes=\"(max-width: 264px) 100vw, 264px\">\u003cfigcaption class=\"wp-caption-text\">Does it get any better than romantic lens flare over a handmade toilet? \u003ccite>(Love Productions/HBO MAX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Timing is everything with baking, and with pottery—and sometimes with television, too. I would have welcomed, at any time, the opportunity to couch out (you know what I mean) with such a pleasant celebration of crafts. But right now, these 24 episodes, which are gentle and decent and educational and serene, and which celebrate patience and beauty and the creation of things that are sturdy and will last, arrived like a shipment of fuzzy slippers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=VwipdMH4UIg\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Soothing+%27Great+Pottery+Throw+Down%27+Makes+Great+Isolation+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault. \u003c/em>\u003c/p>\n\u003cp>In the first episode of the HBO series \u003cem>I May Destroy You\u003c/em>, Arabella has other things going on before she’s sexually assaulted. She’s trying to meet a book deadline, and she’s worried she can’t, and in the great tradition of writers doing everything else when they can’t write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.\u003c/p>\n\u003cp>But before that, she has friends, she has family, she’s struggling with her path from social media breakout star to author, and she’s navigating a long-distance relationship with a man she met in Italy, where she meant to be writing but then didn’t, quite. Played by creator Michaela Coel, also the writer and star of \u003cem>Chewing Gum\u003c/em>, she’s not a character constructed to be traumatized; she’s a character, full stop.\u003c/p>\n\u003cp>\u003cem>I May Destroy You \u003c/em>is about sexual violence and consent; those themes come up over and over in different stories that change characters in different ways. But it avoids the flatness that would come from drama as a didactic explainer. Arabella’s is a story that widens out to show how being assaulted affects her sex life, her relationships with her friends and her family, her career, her aspirations, and her health. It documents the police investigation without centering it. This is not a whodunit, even though Arabella’s drive to understand what happened propels some of the plot.\u003c/p>\n\u003cp>Coel doesn’t just star in the series. She wrote these 12 episodes herself. She co-directed much of the season with Sam Miller, who’s worked on \u003cem>Luther \u003c/em>and on episodes of everything from \u003cem>Luke Cage \u003c/em>to \u003cem>American Crime\u003c/em>. She’s a producer and the star. Her face is the series’ indelible image. And she based the story of Arabella’s assault on \u003ca href=\"https://www.essence.com/entertainment/michaela-coel-hbo-i-may-destroy-you/\" target=\"_blank\" rel=\"noopener noreferrer\">a night in her own life\u003c/a>. It is, transparently, the most personal of projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You see that personal passion-project quality not only in the writing, but in the way Coel and Miller manage the visual language. The wardrobe and hair and knockabout style of filming conversations among friends are unobtrusive and casual in many stretches of the story, which build to those moments when they are emphatically not. This is not a twitchy, self-conscious style that draws attention to itself for no reason; it’s a reservation of visual emphasis for the places where it belongs. Arabella changes her hair, or she puts on a Halloween costume, and the air around her changes, too. It doesn’t look or sound like any other story. With that said, it also makes excellent use some of the best techniques that have emerged in recent television, including episodes that pause the narrative to pay attention to a different point of view, or a different point in time, to enrich the main story thread.\u003c/p>\n\u003cp>In the early going, \u003cem>I May Destroy You \u003c/em>can feel disorienting, because its upending of conventional crime and trauma story structures is so thorough. If you went in not knowing it was a story about sexual assault, you could watch most of the first episode as a day-in-the-life pilot for a quirky half-hour about a wandering millennial, about the publishing industry, about dating apps, and about social media in general. But this is the wisdom of the writing, at its core: This is how you demonstrate that Arabella existed in full before she was assaulted. She \u003cem>already \u003c/em>had a story unfolding, and a life that a series about her could have followed. She wasn’t simply suspended in air, waiting for something narratively important to happen to her.\u003c/p>\n\u003cp>And just as she had a story already, Arabella had a personality already, and Coel resolutely draws her as a woman who is both traumatized and flawed. The rounded character she would have been in that quirky half-hour about the millennial and the book contract, she still is. She can be insensitive and mean, and she can be just as unaware of other people’s experiences and needs as they are of hers. Arabella and her friends—best friend Terry (Weruche Opia), friends Kwame (Paapa Essiedu) and Simon (Ami Ameen), dreamy Italian boyfriend Biagio (Marouane Zotti)—exist in a web of connections in which they hurt and are hurt, sometimes right and sometimes not. They both buoy and disappoint each other, making \u003cem>I May Destroy You \u003c/em>an outstanding examination of friendship as much as anything.\u003c/p>\n\u003cp>It sometimes helps, when encouraging people to try out an unconventionally structured show, to provide a hint that the overall shape of the story will satisfy. Let’s say only this: After 12 episodes, there is a gut-punch brilliance to how Arabella’s story is brought to a close that it would be wildly unfair to spoil. But know that Coel concludes in a way that’s both formally clever—that feels too slight, but it’s true—and dramatically satisfying. It is the holy grail of a certain kind of drama to find an ending that seems, in retrospect, both surprising and inevitable. And it’s very hard to get that right, but she got there.\u003c/p>\n\u003cp>It’s significant that HBO (together with the BBC) has produced this show at all, particularly given its \u003ca href=\"https://www.huffpost.com/entry/hbo-diversity_n_4899679\" target=\"_blank\" rel=\"noopener noreferrer\">dismal record\u003c/a> when it comes to the diversity of voices that get to make the highly personal, idiosyncratic dramas that have built the brand. (And it’s worth emphasizing, perhaps, that despite being a half-hour show from a woman whose last big project was very funny, this is a drama series.) But it’s equally encouraging, if your eye is on what television networks are supporting, that the show is so particular, and that it comes from a voice that’s so fresh, and that it leads with a frankness that a lot of conventional “gritty” drama series cannot match.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And ultimately, this is a chance to watch a brilliant lead performance. It’s tricky to call an actor mesmerizing, for fear of making her power seem magical rather than the result of craft. But Coel here is magnetic and memorable, for sure, and you won’t be able to take your eyes off her.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+May+Destroy+You%27+Is+HBO%27s+New+Unforgettable%2C+Unmissable+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault. \u003c/em>\u003c/p>\n\u003cp>In the first episode of the HBO series \u003cem>I May Destroy You\u003c/em>, Arabella has other things going on before she’s sexually assaulted. She’s trying to meet a book deadline, and she’s worried she can’t, and in the great tradition of writers doing everything else when they can’t write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.\u003c/p>\n\u003cp>But before that, she has friends, she has family, she’s struggling with her path from social media breakout star to author, and she’s navigating a long-distance relationship with a man she met in Italy, where she meant to be writing but then didn’t, quite. Played by creator Michaela Coel, also the writer and star of \u003cem>Chewing Gum\u003c/em>, she’s not a character constructed to be traumatized; she’s a character, full stop.\u003c/p>\n\u003cp>\u003cem>I May Destroy You \u003c/em>is about sexual violence and consent; those themes come up over and over in different stories that change characters in different ways. But it avoids the flatness that would come from drama as a didactic explainer. Arabella’s is a story that widens out to show how being assaulted affects her sex life, her relationships with her friends and her family, her career, her aspirations, and her health. It documents the police investigation without centering it. This is not a whodunit, even though Arabella’s drive to understand what happened propels some of the plot.\u003c/p>\n\u003cp>Coel doesn’t just star in the series. She wrote these 12 episodes herself. She co-directed much of the season with Sam Miller, who’s worked on \u003cem>Luther \u003c/em>and on episodes of everything from \u003cem>Luke Cage \u003c/em>to \u003cem>American Crime\u003c/em>. She’s a producer and the star. Her face is the series’ indelible image. And she based the story of Arabella’s assault on \u003ca href=\"https://www.essence.com/entertainment/michaela-coel-hbo-i-may-destroy-you/\" target=\"_blank\" rel=\"noopener noreferrer\">a night in her own life\u003c/a>. It is, transparently, the most personal of projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You see that personal passion-project quality not only in the writing, but in the way Coel and Miller manage the visual language. The wardrobe and hair and knockabout style of filming conversations among friends are unobtrusive and casual in many stretches of the story, which build to those moments when they are emphatically not. This is not a twitchy, self-conscious style that draws attention to itself for no reason; it’s a reservation of visual emphasis for the places where it belongs. Arabella changes her hair, or she puts on a Halloween costume, and the air around her changes, too. It doesn’t look or sound like any other story. With that said, it also makes excellent use some of the best techniques that have emerged in recent television, including episodes that pause the narrative to pay attention to a different point of view, or a different point in time, to enrich the main story thread.\u003c/p>\n\u003cp>In the early going, \u003cem>I May Destroy You \u003c/em>can feel disorienting, because its upending of conventional crime and trauma story structures is so thorough. If you went in not knowing it was a story about sexual assault, you could watch most of the first episode as a day-in-the-life pilot for a quirky half-hour about a wandering millennial, about the publishing industry, about dating apps, and about social media in general. But this is the wisdom of the writing, at its core: This is how you demonstrate that Arabella existed in full before she was assaulted. She \u003cem>already \u003c/em>had a story unfolding, and a life that a series about her could have followed. She wasn’t simply suspended in air, waiting for something narratively important to happen to her.\u003c/p>\n\u003cp>And just as she had a story already, Arabella had a personality already, and Coel resolutely draws her as a woman who is both traumatized and flawed. The rounded character she would have been in that quirky half-hour about the millennial and the book contract, she still is. She can be insensitive and mean, and she can be just as unaware of other people’s experiences and needs as they are of hers. Arabella and her friends—best friend Terry (Weruche Opia), friends Kwame (Paapa Essiedu) and Simon (Ami Ameen), dreamy Italian boyfriend Biagio (Marouane Zotti)—exist in a web of connections in which they hurt and are hurt, sometimes right and sometimes not. They both buoy and disappoint each other, making \u003cem>I May Destroy You \u003c/em>an outstanding examination of friendship as much as anything.\u003c/p>\n\u003cp>It sometimes helps, when encouraging people to try out an unconventionally structured show, to provide a hint that the overall shape of the story will satisfy. Let’s say only this: After 12 episodes, there is a gut-punch brilliance to how Arabella’s story is brought to a close that it would be wildly unfair to spoil. But know that Coel concludes in a way that’s both formally clever—that feels too slight, but it’s true—and dramatically satisfying. It is the holy grail of a certain kind of drama to find an ending that seems, in retrospect, both surprising and inevitable. And it’s very hard to get that right, but she got there.\u003c/p>\n\u003cp>It’s significant that HBO (together with the BBC) has produced this show at all, particularly given its \u003ca href=\"https://www.huffpost.com/entry/hbo-diversity_n_4899679\" target=\"_blank\" rel=\"noopener noreferrer\">dismal record\u003c/a> when it comes to the diversity of voices that get to make the highly personal, idiosyncratic dramas that have built the brand. (And it’s worth emphasizing, perhaps, that despite being a half-hour show from a woman whose last big project was very funny, this is a drama series.) But it’s equally encouraging, if your eye is on what television networks are supporting, that the show is so particular, and that it comes from a voice that’s so fresh, and that it leads with a frankness that a lot of conventional “gritty” drama series cannot match.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And ultimately, this is a chance to watch a brilliant lead performance. It’s tricky to call an actor mesmerizing, for fear of making her power seem magical rather than the result of craft. But Coel here is magnetic and memorable, for sure, and you won’t be able to take your eyes off her.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+May+Destroy+You%27+Is+HBO%27s+New+Unforgettable%2C+Unmissable+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Filmed Before The Fires, 'Seven Worlds' Shows Off Australia's Amazing Wildlife",
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"content": "\u003cp>\u003cem>Seven Worlds, One Planet, \u003c/em>BBC America’s new big-budget, big-scope documentary series, devotes one episode to each of Earth’s continents—beginning with an episode devoted to Australia.\u003c/p>\n\u003cp>Filmed before that continent’s still-ongoing \u003ca href=\"https://www.npr.org/2020/01/05/793754335/australia-deploys-military-reservists-to-combat-wildfire-as-thousands-evacuate\" target=\"_blank\" rel=\"noopener noreferrer\">wildfire outbreak\u003c/a>, the entire “Australia” episode has even more resonance now. \u003ca href=\"https://www.npr.org/2018/12/25/680079474/sir-david-attenboroughs-field-recordings-from-across-the-planet\" target=\"_blank\" rel=\"noopener noreferrer\">Sir David Attenborough\u003c/a>, the narrator, has been presiding over these wonderful nature films for close to 70 years, and his opening words in the “Australia” program are so on-point it’s spooky: “This is a land of survivors,” he says.\u003c/p>\n\u003cp>It has to be. Recent news reports from Australia say that the wildfires have swept across as many as 27 million acres of land and killed up to a billion animals. A billion. On Kangaroo Island alone, 25,000 koalas have been killed—and their habitat, especially the lush eucalyptus trees, gone.\u003c/p>\n\u003cp>Koalas and kangaroos figure prominently in this “Australia” episode. So do Tasmanian devils and wild budgies, dingoes and jumping spiders, and so much more.\u003c/p>\n\u003cp>The filmmakers capture these creatures doing amazing things, with state-of-the-art technology that makes sure to remember the “art” part. Some of the behaviors caught on tape are very rare sights—as are some of the animals. At episode’s end, in another prescient piece of narration, Attenborough points that the very survival of the animals in Australia depends on us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IlFRPkT-hVc\u003c/p>\n\u003cp>Every installment of \u003cem>Seven Worlds, One Planet \u003c/em>ends with a behind-the-scenes featurette showing how the filmmakers captured the footage they did. It’s a delicious dessert, but the episodes themselves are the true treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each weekly episode premieres on BBC America, but also on AMC, IFC and Sundance TV. Wherever you watch them, watch and record them all. The narration is so clear and concise—and Attenborough such an inviting guide—that \u003cem>Seven Worlds, One Planet \u003c/em>is just as thrilling for younger viewers as for adults. Every episode includes sequences that will make your jaw drop—and the variety of subjects, which in these seven episodes range from polar bears to fireflies, is astounding. As a work of television, this nature series is astounding, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmed+Before+The+Fires%2C+%27Seven+Worlds%27+Shows+Off+Australia%27s+Amazing+Wildlife&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Seven Worlds, One Planet, \u003c/em>BBC America’s new big-budget, big-scope documentary series, devotes one episode to each of Earth’s continents—beginning with an episode devoted to Australia.\u003c/p>\n\u003cp>Filmed before that continent’s still-ongoing \u003ca href=\"https://www.npr.org/2020/01/05/793754335/australia-deploys-military-reservists-to-combat-wildfire-as-thousands-evacuate\" target=\"_blank\" rel=\"noopener noreferrer\">wildfire outbreak\u003c/a>, the entire “Australia” episode has even more resonance now. \u003ca href=\"https://www.npr.org/2018/12/25/680079474/sir-david-attenboroughs-field-recordings-from-across-the-planet\" target=\"_blank\" rel=\"noopener noreferrer\">Sir David Attenborough\u003c/a>, the narrator, has been presiding over these wonderful nature films for close to 70 years, and his opening words in the “Australia” program are so on-point it’s spooky: “This is a land of survivors,” he says.\u003c/p>\n\u003cp>It has to be. Recent news reports from Australia say that the wildfires have swept across as many as 27 million acres of land and killed up to a billion animals. A billion. On Kangaroo Island alone, 25,000 koalas have been killed—and their habitat, especially the lush eucalyptus trees, gone.\u003c/p>\n\u003cp>Koalas and kangaroos figure prominently in this “Australia” episode. So do Tasmanian devils and wild budgies, dingoes and jumping spiders, and so much more.\u003c/p>\n\u003cp>The filmmakers capture these creatures doing amazing things, with state-of-the-art technology that makes sure to remember the “art” part. Some of the behaviors caught on tape are very rare sights—as are some of the animals. At episode’s end, in another prescient piece of narration, Attenborough points that the very survival of the animals in Australia depends on us.\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/IlFRPkT-hVc'\n title='//www.youtube.com/embed/IlFRPkT-hVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Every installment of \u003cem>Seven Worlds, One Planet \u003c/em>ends with a behind-the-scenes featurette showing how the filmmakers captured the footage they did. It’s a delicious dessert, but the episodes themselves are the true treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each weekly episode premieres on BBC America, but also on AMC, IFC and Sundance TV. Wherever you watch them, watch and record them all. The narration is so clear and concise—and Attenborough such an inviting guide—that \u003cem>Seven Worlds, One Planet \u003c/em>is just as thrilling for younger viewers as for adults. Every episode includes sequences that will make your jaw drop—and the variety of subjects, which in these seven episodes range from polar bears to fireflies, is astounding. As a work of television, this nature series is astounding, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Filmed+Before+The+Fires%2C+%27Seven+Worlds%27+Shows+Off+Australia%27s+Amazing+Wildlife&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\n\u003cp>https://twitter.com/mrjimbecks/status/1176097881331290113\u003c/p>\n\u003cp>https://twitter.com/PublicBenjamin/status/1176209518604296192\u003c/p>\n\u003cp>https://twitter.com/linecon0/status/1176072657391038465\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vgT4Y30DkaA\u003c/p>\n\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=120wGLgCTkg\u003c/p>\n\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\n\u003cp>https://twitter.com/MrJSnod/status/1176138007205863424\u003c/p>\n\u003cp>https://twitter.com/DavidWPoole73/status/1176189847268184069\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JudasDJs/status/1176069665057071105\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\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/vgT4Y30DkaA'\n title='//www.youtube.com/embed/vgT4Y30DkaA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\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/120wGLgCTkg'\n title='//www.youtube.com/embed/120wGLgCTkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\u003c/p>\u003c/div>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
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"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Peppa is a 4-year-old, cartoon pig whose award-winning TV show airs in more than 180 countries. For the last 13 years she's been played by Harley Bird, who got the part when she was only 5 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\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/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\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/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
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},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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