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"content": "\u003cp>Kids movies so often bear little of the actual lived-in experience of growing up, but Yamada Naoko’s luminous anime \u003cem>The Colors Within\u003c/em> gently reverberates with the doubts and yearnings of young life.\u003c/p>\n\u003cp>[aside postid='arts_13969337']Totsuko (voiced by Suzukawa Sayu) is a student at an all-girls Catholic boarding school. In the movie’s opening, she explains how she experiences colors differently. She feels colors more than sees them, like an aura she senses from another person. “When I see a pretty color, my heart quickens,” she says.\u003c/p>\n\u003cp>Totsuko, an exuberant, uncensored soul, has the tendency to blurt things out before she quite intends to. She accidentally tells a nun that her color is beautiful. In the midst of a dodgeball game, she’s transfixed by the purple and yellow blur of a volleyball hurtling toward her — so much so that she’s happily dazed when it smacks her in the head.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jjfRNOVeuO8\u003c/p>\n\u003cp>Like Totsuko, \u003cem>The Colors Within\u003c/em> (in theaters Friday) wears its heart on its sleeve. Painted with a light, watercolor-y brush, the movie is softly impressionistic. In one typically poetic touch, a slinky brush stroke shapes the contours of a hillside horizon. That evocative sensibility connects with the movie’s spiritual underpinnings. Totsuko prays “to have the serenity to accept the things she can’t change.” In \u003cem>The Colors Within\u003c/em>, a trio of young loners bond over what makes them uniquely themselves, while finding the courage to change, together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ball that knocks down Totsuko is thrown by a classmate named Kimi (Akari Takaishi), who not long after that gym class drops out of school — hounded, we’re told, by rumors of a boyfriend. (Boys are off-limits for the boarding school.) Totsuko, curious what’s happened to Kimi, sets out to find her, and eventually does. At a local used bookstore, she sits working behind a desk, strumming her electric guitar.\u003c/p>\n\u003cp>To speak to Kimi, Totsuko grabs a piano book for an excuse. When a bespectacled boy named Rui (Kido Taisei) approaches and says he plays the theremin, Totsuko blurts out that they should start a band. They aren’t much more than strangers to each other, but they do — a group urged together by Totsuko’s earnest positivity and her instinct that they are suited to one another. (Totsuko sees blue for Kimi, green for Rui.)\u003c/p>\n\u003cp>[aside postid='arts_13969182']Despite their relatively scant experience (none in the case of Totsuko), the trio begin making music together. They practice in an old church near Rui’s home that Kimi and Totsuko take a ferry to get to. They don’t share much about their lives, but enough to know, roughly, what each is wrestling with. Kimi hasn’t yet told her grandmother, who raised her, that she’s out of school. Rui, headed next year to college, loves music but has parents who expect a different professional path.\u003c/p>\n\u003cp>But much goes unspoken in \u003cem>The Colors Within\u003c/em>. If there’s a character who voices what isn’t articulated, it’s the kindly Sister Hiyoshiko (Yui Aragaki), the nun with the “beautiful” color. As she subtly encourages them, it’s clear that her sense of guidance and atonement goes beyond school policy. “We can chart a new course any time we wish,” she says.\u003c/p>\n\u003cp>But much of what matters in \u003cem>The Colors Within\u003c/em> isn’t said aloud. It comes, like Totsuko’s feelings of color, through an essence of character that, regardless of any missteps or disappointments by these three young people, emerges loud and clear in music. Are they songs? Or hymns? Either way, in the climactic concert, Naoko, the filmmaker of 2016’s \u003cem>A Silent Voice\u003c/em>, allows all the dialogue to subside and let their music do the talking. And it rocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Colors Within’ is released nationwide on Jan. 24, 2025. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids movies so often bear little of the actual lived-in experience of growing up, but Yamada Naoko’s luminous anime \u003cem>The Colors Within\u003c/em> gently reverberates with the doubts and yearnings of young life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Totsuko (voiced by Suzukawa Sayu) is a student at an all-girls Catholic boarding school. In the movie’s opening, she explains how she experiences colors differently. She feels colors more than sees them, like an aura she senses from another person. “When I see a pretty color, my heart quickens,” she says.\u003c/p>\n\u003cp>Totsuko, an exuberant, uncensored soul, has the tendency to blurt things out before she quite intends to. She accidentally tells a nun that her color is beautiful. In the midst of a dodgeball game, she’s transfixed by the purple and yellow blur of a volleyball hurtling toward her — so much so that she’s happily dazed when it smacks her in the head.\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/jjfRNOVeuO8'\n title='//www.youtube.com/embed/jjfRNOVeuO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Totsuko, \u003cem>The Colors Within\u003c/em> (in theaters Friday) wears its heart on its sleeve. Painted with a light, watercolor-y brush, the movie is softly impressionistic. In one typically poetic touch, a slinky brush stroke shapes the contours of a hillside horizon. That evocative sensibility connects with the movie’s spiritual underpinnings. Totsuko prays “to have the serenity to accept the things she can’t change.” In \u003cem>The Colors Within\u003c/em>, a trio of young loners bond over what makes them uniquely themselves, while finding the courage to change, together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ball that knocks down Totsuko is thrown by a classmate named Kimi (Akari Takaishi), who not long after that gym class drops out of school — hounded, we’re told, by rumors of a boyfriend. (Boys are off-limits for the boarding school.) Totsuko, curious what’s happened to Kimi, sets out to find her, and eventually does. At a local used bookstore, she sits working behind a desk, strumming her electric guitar.\u003c/p>\n\u003cp>To speak to Kimi, Totsuko grabs a piano book for an excuse. When a bespectacled boy named Rui (Kido Taisei) approaches and says he plays the theremin, Totsuko blurts out that they should start a band. They aren’t much more than strangers to each other, but they do — a group urged together by Totsuko’s earnest positivity and her instinct that they are suited to one another. (Totsuko sees blue for Kimi, green for Rui.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite their relatively scant experience (none in the case of Totsuko), the trio begin making music together. They practice in an old church near Rui’s home that Kimi and Totsuko take a ferry to get to. They don’t share much about their lives, but enough to know, roughly, what each is wrestling with. Kimi hasn’t yet told her grandmother, who raised her, that she’s out of school. Rui, headed next year to college, loves music but has parents who expect a different professional path.\u003c/p>\n\u003cp>But much goes unspoken in \u003cem>The Colors Within\u003c/em>. If there’s a character who voices what isn’t articulated, it’s the kindly Sister Hiyoshiko (Yui Aragaki), the nun with the “beautiful” color. As she subtly encourages them, it’s clear that her sense of guidance and atonement goes beyond school policy. “We can chart a new course any time we wish,” she says.\u003c/p>\n\u003cp>But much of what matters in \u003cem>The Colors Within\u003c/em> isn’t said aloud. It comes, like Totsuko’s feelings of color, through an essence of character that, regardless of any missteps or disappointments by these three young people, emerges loud and clear in music. Are they songs? Or hymns? Either way, in the climactic concert, Naoko, the filmmaker of 2016’s \u003cem>A Silent Voice\u003c/em>, allows all the dialogue to subside and let their music do the talking. And it rocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Colors Within’ is released nationwide on Jan. 24, 2025. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Visitors to corn mazes across the country are finding a familiar and joyous figure in the winding labyrinth of tall stalks. Snoopy.\u003c/p>\n\u003cp>More than 80 farms in the U.S. and Canada have teamed up with Peanuts Worldwide to create \u003cem>Peanuts\u003c/em>-themed mazes to celebrate the beloved strip’s 75th birthday this summer and fall.\u003c/p>\n\u003cp>A massive Snoopy rests on top of his doghouse in a maze at Dull’s Tree Farm in Thorntown, Indiana, and he’s depicted gleefully atop a pumpkin at Downey’s Farm in Caledon, Ontario.\u003c/p>\n\u003cp>“All of these events helps keep my dad’s legacy alive,” says Jill Schulz, an actor and daughter of \u003cem>Peanuts\u003c/em> creator Charles Schulz, who lived and worked in Santa Rosa, Calif. for the majority of his five-decade-long career.\u003c/p>\n\u003cp>“As someone who can’t even keep houseplants alive, the fact that they can do that with a corn maze and get the artwork right and create a fun experience for all ages is pretty incredible,” she adds, laughing.\u003c/p>\n\u003cfigure id=\"attachment_13962194\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg\" alt=\"An overhead view of a corn maze in the shape of Snoopy\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13962194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">This July 19, 2024 image released by Downey’s Farm in Caledon, Ontario shows a corn maze honoring the 75th anniversary of the Peanuts comic strip. \u003ccite>(Joanne Strom/Downey's Farm via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mazes — which span 35 states and provinces, from California to New York, Ontario to Texas — are expected to attract more than 2 million visitors. Farmers are signing up for the free service because the mazes are part of the customer lure, in addition to things like hay rides, fresh produce and pumpkin carvings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each maze is designed for the size of the farm — from 1.5 acres to 20 acres — and are mostly corn but also sunflowers. They’re custom created by the world’s largest corn maze consulting company, The MAiZE Inc.\u003c/p>\n\u003cp>The Utah-based Brett Herbst, who leads the company and who launched his first corn maze in 1996, says technology has only somewhat changed the way corn mazes are made.\u003c/p>\n\u003cp>[aside postID='arts_13852729']“The first year we did it, we just used a weed whacker with a saw blade on it when the corn was fully grown,” he says. “Now we do it when it’s short and we go in and either mow it or rototill it. We design it all on a computer, but most of it we actually just go draw it out on the ground by hand.”\u003c/p>\n\u003cp>He and his team have over the years designed mazes with everything from the faces of presidential candidates, Oprah Winfrey, zombies, John Wayne and Chris LeDoux. This year marks the first time they’ve committed so fully to Charlie Brown and Co.\u003c/p>\n\u003cp>“It’s very nostalgic and just seemed like a very natural fit from the get-go to embrace that with \u003cem>Peanuts\u003c/em>,” he says. “It’s harvest time. Its kind of become this iconic thing.”\u003c/p>\n\u003cp>There’s an art and a science to maze building, a balance between maintaining the integrity of the image, but also making it a true maze where people can actually get lost in. “That’s definitely a challenge there,” says Herbst. “You want to accomplish both as much as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13962196\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg\" alt=\"\" width=\"1600\" height=\"768\" class=\"size-full wp-image-13962196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1536x737.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">This July 17, 2024 image released by Dull’s Tree Farm and Pumpkin Harvest shows a corn maze honoring the 75th anniversary of the Peanuts comic strip in Thorntown, Ind. \u003ccite>(Dana Dull via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Peanuts\u003c/em> made its debut Oct. 2, 1950. The travails of the “little round-headed kid” Charlie Brown and his pals eventually ran in more than 2,600 newspapers, reaching millions of readers in 75 countries.\u003c/p>\n\u003cp>The strip offers enduring images of kites in trees, Charlie Brown trying to kick a football, tart-tongued Lucy handing out advice for a nickel and Snoopy taking the occasional flight of fancy to the skies. Phrases from the strip such as “security blanket” and “good grief” are now part of the global vernacular. Schulz died in 2000.\u003c/p>\n\u003cp>There’s something timeless about corn mazes, and that’s what excites Jill Schulz so much. They offer kids a chance to disconnect from their online life and celebrate something their parents did.\u003c/p>\n\u003cp>“It’s great to have an opportunity to just bring kids to events that are old school, because it’s also important for parents and grandparents to introduce something they loved to do as a child,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think we all need a little innocence for our children right now with all the technology out there. We need a little ‘put down your phone and go out and have some good old fashioned, old school family time.’ I think that’s important.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visitors to corn mazes across the country are finding a familiar and joyous figure in the winding labyrinth of tall stalks. Snoopy.\u003c/p>\n\u003cp>More than 80 farms in the U.S. and Canada have teamed up with Peanuts Worldwide to create \u003cem>Peanuts\u003c/em>-themed mazes to celebrate the beloved strip’s 75th birthday this summer and fall.\u003c/p>\n\u003cp>A massive Snoopy rests on top of his doghouse in a maze at Dull’s Tree Farm in Thorntown, Indiana, and he’s depicted gleefully atop a pumpkin at Downey’s Farm in Caledon, Ontario.\u003c/p>\n\u003cp>“All of these events helps keep my dad’s legacy alive,” says Jill Schulz, an actor and daughter of \u003cem>Peanuts\u003c/em> creator Charles Schulz, who lived and worked in Santa Rosa, Calif. for the majority of his five-decade-long career.\u003c/p>\n\u003cp>“As someone who can’t even keep houseplants alive, the fact that they can do that with a corn maze and get the artwork right and create a fun experience for all ages is pretty incredible,” she adds, laughing.\u003c/p>\n\u003cfigure id=\"attachment_13962194\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg\" alt=\"An overhead view of a corn maze in the shape of Snoopy\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13962194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">This July 19, 2024 image released by Downey’s Farm in Caledon, Ontario shows a corn maze honoring the 75th anniversary of the Peanuts comic strip. \u003ccite>(Joanne Strom/Downey's Farm via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mazes — which span 35 states and provinces, from California to New York, Ontario to Texas — are expected to attract more than 2 million visitors. Farmers are signing up for the free service because the mazes are part of the customer lure, in addition to things like hay rides, fresh produce and pumpkin carvings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The first year we did it, we just used a weed whacker with a saw blade on it when the corn was fully grown,” he says. “Now we do it when it’s short and we go in and either mow it or rototill it. We design it all on a computer, but most of it we actually just go draw it out on the ground by hand.”\u003c/p>\n\u003cp>He and his team have over the years designed mazes with everything from the faces of presidential candidates, Oprah Winfrey, zombies, John Wayne and Chris LeDoux. This year marks the first time they’ve committed so fully to Charlie Brown and Co.\u003c/p>\n\u003cp>“It’s very nostalgic and just seemed like a very natural fit from the get-go to embrace that with \u003cem>Peanuts\u003c/em>,” he says. “It’s harvest time. Its kind of become this iconic thing.”\u003c/p>\n\u003cp>There’s an art and a science to maze building, a balance between maintaining the integrity of the image, but also making it a true maze where people can actually get lost in. “That’s definitely a challenge there,” says Herbst. “You want to accomplish both as much as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13962196\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg\" alt=\"\" width=\"1600\" height=\"768\" class=\"size-full wp-image-13962196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1536x737.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">This July 17, 2024 image released by Dull’s Tree Farm and Pumpkin Harvest shows a corn maze honoring the 75th anniversary of the Peanuts comic strip in Thorntown, Ind. \u003ccite>(Dana Dull via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Peanuts\u003c/em> made its debut Oct. 2, 1950. The travails of the “little round-headed kid” Charlie Brown and his pals eventually ran in more than 2,600 newspapers, reaching millions of readers in 75 countries.\u003c/p>\n\u003cp>The strip offers enduring images of kites in trees, Charlie Brown trying to kick a football, tart-tongued Lucy handing out advice for a nickel and Snoopy taking the occasional flight of fancy to the skies. Phrases from the strip such as “security blanket” and “good grief” are now part of the global vernacular. Schulz died in 2000.\u003c/p>\n\u003cp>There’s something timeless about corn mazes, and that’s what excites Jill Schulz so much. They offer kids a chance to disconnect from their online life and celebrate something their parents did.\u003c/p>\n\u003cp>“It’s great to have an opportunity to just bring kids to events that are old school, because it’s also important for parents and grandparents to introduce something they loved to do as a child,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think we all need a little innocence for our children right now with all the technology out there. We need a little ‘put down your phone and go out and have some good old fashioned, old school family time.’ I think that’s important.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7C0arR310g\u003c/p>\n\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=esHLWel4lMg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\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/p7C0arR310g'\n title='//www.youtube.com/embed/p7C0arR310g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\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/esHLWel4lMg'\n title='//www.youtube.com/embed/esHLWel4lMg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The earliest iteration of Mickey Mouse is on a rampage, barely three days in the public domain.\u003c/p>\n\u003cp>Slashed free of Disney’s copyright as of Monday, the iconic character from \u003ca href=\"https://www.youtube.com/watch?v=hmzO--ox7X0\">\u003cem>Steamboat Willie\u003c/em>\u003c/a> is already the focus of two horror films. On Monday, just hours after the 1928 short entered the public domain, a trailer for \u003cem>Mickey’s Mouse Trap\u003c/em> dropped on YouTube. Another yet-to-be-titled film was announced Tuesday.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13914736']Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_G3kp3_61c\u003c/p>\n\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>[aside postid='arts_13935838']“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\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/u_G3kp3_61c'\n title='//www.youtube.com/embed/u_G3kp3_61c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Flash tattoos aren’t something I would typically suggest you do on a calm Sunday afternoon.\u003c/p>\n\u003cp>However, when it comes local artistry and reverent fanfare of \u003ci>The Simpsons\u003c/i> converging at a tattoo parlor in Milpitas — with weirdly creative renditions of characters like Blinky the three eyed fish alongside Homer as Mr. Sparkle — how could anyone resist?\u003c/p>\n\u003cp>For one day only, a group of seven ink artists will be on hand at \u003ca href=\"https://www.instagram.com/parallaxartstudio/\">Parallax Art Studio\u003c/a> to immortalize your favorite moments from \u003ci>The Simpsons\u003c/i> on your non-yellow flesh. From a drippy, psychedelic-induced head shot of Lisa Simpson to a video game-inspired can of Duff Beer — or, my personal favorite, a spring flower with the face of Springfield’s most notorious bartender, Moe Szyslak — customers can choose from \u003ca href=\"https://www.instagram.com/p/Cs_4ADLPJ6D/\">25 pre-determined designs\u003c/a> drawn by the featured artists.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cs_4ADLPJ6D/\u003c/p>\n\u003cp>In honor of the cult animation’s 34th running season, each tattoo will cost $134 a pop. Though the individual artist’s styles diverge from one another — \u003ca href=\"https://www.instagram.com/crystalchariot/\">Crystal Chariot\u003c/a> specializes in an anime style, while \u003ca href=\"https://www.instagram.com/louiseflowerbloom/\">Louise Flower Bloom\u003c/a> uses Japanese watercolor effects — each flash tattoo will remain consistently simple. Expect clean line work, minimal fill-ins and no modifications. Each tattoo will measure about two inches, and will only be done on arms, backs or legs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Featured guests at the event include \u003ca href=\"https://www.instagram.com/sanjosesimpsons/\">San Jose Simpsons\u003c/a>, a social media account that posts original art and rare memorabilia, and hosts collaborative \u003ci>The Simpsons\u003c/i>-themed \u003ca href=\"https://www.instagram.com/p/ChGF9XiPBhg/\">pop-ups\u003c/a> with independent Bay Area clothing brands like Courtesy of the Bay and Cukui.\u003c/p>\n\u003cp>Of course, there will be food for the expected long waits (yes, even flash tattoos take time and cannot be rushed). San Jose’s \u003ca href=\"https://www.instagram.com/westaymixin/\">Mestizo Food Truck\u003c/a> will be on site, dishing out their Stay Rooted burrito (fried chicken, gravy, mac salad, rice and over-easy egg on flour tortilla), KaluaQuiles (kalua pork chilaquiles, with mole, macerated mango, pickled onion, avocado crema and chili-lime flakes) and Mestizo lumpia (pork lumpia, house orange sauce, crema, cilantro).\u003c/p>\n\u003cp>This cartoon extravaganza isn’t the first time Parallax Art Studio will rally a community of cool Bay Area nerds to celebrate their diehard, nostalgic fandom together — the shop previously hosted a May the Fourth Be With You flash tattoo function. Similarly, this occasion highlights the bizarrely rich worlds of tattoo culture, animation styles, Bay Area bootlegging and South Bay pride. So, lovers of \u003ci>The Simpsons\u003c/i>, if this is your thing, I doubt you’ll walk away feeling disappointed.\u003c/p>\n\u003cp>After getting inked up, you can flex your new skin art by walking off while \u003ca href=\"https://www.complex.com/pop-culture/2014/03/20-simpsons-quotes-to-use-in-everyday-situations\">quoting one of America’s greatest rebels and infamous graffiti artists\u003c/a>, Bart Simpson. “There’s only one thing to do at a moment like this: strut!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Simpsons flash tattoo party will take place at \u003c/i>\u003ca href=\"https://www.parallaxartstudio.com/\">\u003ci>Parallax Art Studio\u003c/i>\u003c/a>\u003ci> (1819 Houret Ct., Milpitas) on Sunday, June 11, 10 a.m.–4 p.m. Carpooling is recommended due to limited parking space. A foldable chair, snacks, water and sun protection are also encouraged.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Flash tattoos aren’t something I would typically suggest you do on a calm Sunday afternoon.\u003c/p>\n\u003cp>However, when it comes local artistry and reverent fanfare of \u003ci>The Simpsons\u003c/i> converging at a tattoo parlor in Milpitas — with weirdly creative renditions of characters like Blinky the three eyed fish alongside Homer as Mr. Sparkle — how could anyone resist?\u003c/p>\n\u003cp>For one day only, a group of seven ink artists will be on hand at \u003ca href=\"https://www.instagram.com/parallaxartstudio/\">Parallax Art Studio\u003c/a> to immortalize your favorite moments from \u003ci>The Simpsons\u003c/i> on your non-yellow flesh. From a drippy, psychedelic-induced head shot of Lisa Simpson to a video game-inspired can of Duff Beer — or, my personal favorite, a spring flower with the face of Springfield’s most notorious bartender, Moe Szyslak — customers can choose from \u003ca href=\"https://www.instagram.com/p/Cs_4ADLPJ6D/\">25 pre-determined designs\u003c/a> drawn by the featured artists.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the cult animation’s 34th running season, each tattoo will cost $134 a pop. Though the individual artist’s styles diverge from one another — \u003ca href=\"https://www.instagram.com/crystalchariot/\">Crystal Chariot\u003c/a> specializes in an anime style, while \u003ca href=\"https://www.instagram.com/louiseflowerbloom/\">Louise Flower Bloom\u003c/a> uses Japanese watercolor effects — each flash tattoo will remain consistently simple. Expect clean line work, minimal fill-ins and no modifications. Each tattoo will measure about two inches, and will only be done on arms, backs or legs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Featured guests at the event include \u003ca href=\"https://www.instagram.com/sanjosesimpsons/\">San Jose Simpsons\u003c/a>, a social media account that posts original art and rare memorabilia, and hosts collaborative \u003ci>The Simpsons\u003c/i>-themed \u003ca href=\"https://www.instagram.com/p/ChGF9XiPBhg/\">pop-ups\u003c/a> with independent Bay Area clothing brands like Courtesy of the Bay and Cukui.\u003c/p>\n\u003cp>Of course, there will be food for the expected long waits (yes, even flash tattoos take time and cannot be rushed). San Jose’s \u003ca href=\"https://www.instagram.com/westaymixin/\">Mestizo Food Truck\u003c/a> will be on site, dishing out their Stay Rooted burrito (fried chicken, gravy, mac salad, rice and over-easy egg on flour tortilla), KaluaQuiles (kalua pork chilaquiles, with mole, macerated mango, pickled onion, avocado crema and chili-lime flakes) and Mestizo lumpia (pork lumpia, house orange sauce, crema, cilantro).\u003c/p>\n\u003cp>This cartoon extravaganza isn’t the first time Parallax Art Studio will rally a community of cool Bay Area nerds to celebrate their diehard, nostalgic fandom together — the shop previously hosted a May the Fourth Be With You flash tattoo function. Similarly, this occasion highlights the bizarrely rich worlds of tattoo culture, animation styles, Bay Area bootlegging and South Bay pride. So, lovers of \u003ci>The Simpsons\u003c/i>, if this is your thing, I doubt you’ll walk away feeling disappointed.\u003c/p>\n\u003cp>After getting inked up, you can flex your new skin art by walking off while \u003ca href=\"https://www.complex.com/pop-culture/2014/03/20-simpsons-quotes-to-use-in-everyday-situations\">quoting one of America’s greatest rebels and infamous graffiti artists\u003c/a>, Bart Simpson. “There’s only one thing to do at a moment like this: strut!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Simpsons flash tattoo party will take place at \u003c/i>\u003ca href=\"https://www.parallaxartstudio.com/\">\u003ci>Parallax Art Studio\u003c/i>\u003c/a>\u003ci> (1819 Houret Ct., Milpitas) on Sunday, June 11, 10 a.m.–4 p.m. Carpooling is recommended due to limited parking space. A foldable chair, snacks, water and sun protection are also encouraged.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
"headTitle": "‘What If…?’ Gives the Marvel Universe an Animated Remix for Disney+ | KQED",
"content": "\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>[aside postid='arts_13896604']Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9D0uUKJ5KI\u003c/p>\n\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>[aside postid='arts_13891309']It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\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/x9D0uUKJ5KI'\n title='//www.youtube.com/embed/x9D0uUKJ5KI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>Eight animated shorts exploring identity, interpersonal relationships and the ties that bind are lighting up Alamo Drafthouse for three days at the \u003ca href=\"https://www.animationshowofshows.com/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Annual Animation Show of Shows\u003c/a>.\u003c/p>\n\u003cp>The carefully curated collection features work from filmmakers around the globe, and the final shortlist includes talent from seven different countries. One of the films, \u003cem>Daughter—\u003c/em>featuring puppet animation—has been shortlisted for this year’s Academy Awards. The program also includes mini-documentaries about animators Amit Cohen, Ido Shapira and Gil Alkabetz.\u003c/p>\n\u003cp>The full line-up is as follows:\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt0120040/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rubicon\u003c/em>\u003c/a> by Gil Alkabetz (Germany)\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=co2wd9ka2zw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Récit de soi (Self-Narrative)\u003c/em>\u003c/a> by Géraldine Charpentier (Belgium)\u003cbr>\n\u003ca href=\"https://idoshapiraart.com/hounds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hounds\u003c/em>\u003c/a> by Amit Cohen and Ido Shapira (Israel)\u003cbr>\n\u003ca href=\"https://playkids.ch/presskit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kids\u003c/em> \u003c/a>by Michael Frei and Mario von Rickenbach (Switzerland)\u003cbr>\n\u003ca href=\"http://cine3d.ch/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Fox and the Bird (Le Renard et l’Oisille)\u003c/em> \u003c/a>by Sam and Fred Guillaume (Switzerland)\u003cbr>\n\u003ca href=\"http://dariakashcheeva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daughter\u003c/em>\u003c/a> by Daria Kashcheeva (Czech Republic)\u003cbr>\n\u003ca href=\"https://vimeo.com/channels/1407170/265919223\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Le Jour Extraordinaire (Flowing through Wonder)\u003c/em>\u003c/a> by Joanna Lurie (France)\u003cbr>\n\u003ca href=\"https://vimeo.com/nataliamirzoyan\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Five Minutes to Sea\u003c/em>\u003c/a> by Natalia Mirzoyan (Russia)\u003cbr>\n\u003cem>Portrait of Gil Alkabetz (Rubicon)\u003c/em> by Marta Trela (Germany)\u003cbr>\n\u003cem>Portrait of Amit Cohen and Ido Shapira (Hounds)\u003c/em> by Shlomi Yosef (Israel)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a taste of the program, watch the trailer below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G5cxE9CPaIs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>Eight animated shorts exploring identity, interpersonal relationships and the ties that bind are lighting up Alamo Drafthouse for three days at the \u003ca href=\"https://www.animationshowofshows.com/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Annual Animation Show of Shows\u003c/a>.\u003c/p>\n\u003cp>The carefully curated collection features work from filmmakers around the globe, and the final shortlist includes talent from seven different countries. One of the films, \u003cem>Daughter—\u003c/em>featuring puppet animation—has been shortlisted for this year’s Academy Awards. The program also includes mini-documentaries about animators Amit Cohen, Ido Shapira and Gil Alkabetz.\u003c/p>\n\u003cp>The full line-up is as follows:\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt0120040/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rubicon\u003c/em>\u003c/a> by Gil Alkabetz (Germany)\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=co2wd9ka2zw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Récit de soi (Self-Narrative)\u003c/em>\u003c/a> by Géraldine Charpentier (Belgium)\u003cbr>\n\u003ca href=\"https://idoshapiraart.com/hounds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hounds\u003c/em>\u003c/a> by Amit Cohen and Ido Shapira (Israel)\u003cbr>\n\u003ca href=\"https://playkids.ch/presskit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kids\u003c/em> \u003c/a>by Michael Frei and Mario von Rickenbach (Switzerland)\u003cbr>\n\u003ca href=\"http://cine3d.ch/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Fox and the Bird (Le Renard et l’Oisille)\u003c/em> \u003c/a>by Sam and Fred Guillaume (Switzerland)\u003cbr>\n\u003ca href=\"http://dariakashcheeva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daughter\u003c/em>\u003c/a> by Daria Kashcheeva (Czech Republic)\u003cbr>\n\u003ca href=\"https://vimeo.com/channels/1407170/265919223\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Le Jour Extraordinaire (Flowing through Wonder)\u003c/em>\u003c/a> by Joanna Lurie (France)\u003cbr>\n\u003ca href=\"https://vimeo.com/nataliamirzoyan\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Five Minutes to Sea\u003c/em>\u003c/a> by Natalia Mirzoyan (Russia)\u003cbr>\n\u003cem>Portrait of Gil Alkabetz (Rubicon)\u003c/em> by Marta Trela (Germany)\u003cbr>\n\u003cem>Portrait of Amit Cohen and Ido Shapira (Hounds)\u003c/em> by Shlomi Yosef (Israel)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'90s Kids, Rejoice: 'Invader Zim,' a Cult-Classic Nicktoon, Returns",
"headTitle": "’90s Kids, Rejoice: ‘Invader Zim,’ a Cult-Classic Nicktoon, Returns | KQED",
"content": "\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TDnKp83IOPA\u003c/p>\n\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v92Ql8p8-EM\u003c/p>\n\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\"> NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Eighteen years after the short-lived series premiered, 'Invader Zim' is back with a one-off special that lacks the edge of the show's best episodes, but recalls what made it so fun. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask people which episode of \u003cem>Invader Zim \u003c/em>they most remember, and it won’t take long before someone brings up “Dark Harvest.” In it, Zim—a green alien intent on destroying the human race—sets out to harvest his classmates’ organs.\u003c/p>\n\u003cp>His reason is straightforward: He believes that the more organs he harbors in his body, the more human he’ll appear to his classmates. So he begins swapping his classmate’s internal organs with inanimate objects and absorbing their hearts, spleens, kidneys etc. At the episode’s conclusion, Zim has grown huge on the various anatomical bits of his classmates. The school nurse, removing a thermometer from Zim’s mouth, proclaims, “Why, you’re one of the healthiest children I’ve ever seen. And such \u003cem>plentiful \u003c/em>organs!”\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus, \u003c/em>a one-hour special now on Netflix, marks the return of the celebrated Nickelodeon animated series. Several Nicktoons have seen similar revivals over the past few years. (A \u003cem>Rocko’s Modern Life\u003c/em> special popped up on Netflix just last week, in fact.) But none of those shows were as weird, obtuse—and as controversial—as \u003cem>Invader Zim.\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/TDnKp83IOPA'\n title='//www.youtube.com/embed/TDnKp83IOPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Created by Jhonen Vasquez in 2001, \u003cem>Zim \u003c/em>shared a premiere date with \u003cem>The Fairly Oddparents. \u003c/em>That series survived for ten seasons, but \u003cem>Zim \u003c/em>was cancelled after only two. Over its brief run, \u003cem>Invader Zim \u003c/em>earned a reputation for challenging notions of what made for acceptable content on a children’s television network. And it was that very fact that drew an audience older than the one it was originally aimed at—”edgy” teens who discovered the show years later, via DVD sets (and—in no small measure—through Hot Topic merch). On the back of this phenomenon, the show is now widely—and wrongly, I think—remembered primarily for trading in shock value, instead of for the quality of its writing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Invader Zim: Enter the Florpus \u003c/em>serves as a excellent reminder of why the series holds such a special place in the Nicktoon canon. It’s weird, smart and bracingly unsentimental. Vasquez assured fans that \u003cem>Florpus \u003c/em>was not a radical reinvention of the series—that what we were getting was bound to be just “More Zim!” That’s mostly true, and the series doesn’t try to comment on contemporary ills in the way the new \u003cem>Rocko’s Modern Life \u003c/em>reboot does. The characters, locales, and core themes are largely unchanged. And while a bit of the edge from the original run seems dulled, there’s still a special pleasure in being thrown right back in the midst of a familiar chaos.\u003c/p>\n\u003cp>\u003cem>Invader Zim: Enter the Florpus\u003c/em> occurs an undisclosed amount of time after the original series has ended. Zim is still out to destroy the human race by blending in with them, but he hasn’t been seen for some time. Dib, a teen determined to expose Zim as the evil alien he knows him to be, has grown obsessed with Zim’s disappearance. He’s gained a bit of weight; his eyes are crusty. He’s been waiting for Zim for so long, he’s fused to his chair.\u003c/p>\n\u003cp>Zim returns, of course, and we’re vaulted back into the premise familiar to fans of the old series: Zim yells a lot and tries to destroy Earth. The success of that premise is less about any suspense that Zim will actually achieve his goal (his incompetence assures that will not be the case); it’s more about seeing whatever zany scheme Zim devises to mount the attempt.\u003c/p>\n\u003cp>Just as before, the humans of Earth remain hopelessly unaware of the threats around them. They are gross caricatures of human beings: They drink soda cans labeled “poop,” eat pizza that has been regurgitated by a vile corporate pig mascot, and in \u003cem>Enter The Florpus, \u003c/em>they buy up a piece of tech (that resembles an Apple watch) designed specifically to destroy them. “All this time trying to subjugate the humans and all I had to do was charge them for it!” exclaims Zim.\u003c/p>\n\u003cp>Tonally, \u003cem>Enter The Florpus\u003c/em> feels less jarring and nihilistic than the series’ most iconic episodes. It’s particularly invested in showing us the fractured relationship between Dib and his father, a brilliant mad-scientist-type named Professor Membrane. The new special also gives Dib’s sister Gaz, who read as a one-note symbol of teen ambivalence in the original run, more of a multidimensional personality.\u003c/p>\n\u003cp>All of this is admirable, but it’s strange seeing a series known for its grim indifference and mordant satire trading in things like sentimentality and … actual character development. Creator Vasquez told \u003cem>The AV Club\u003c/em> that, with \u003cem>Enter the Florpus,\u003c/em> he was concerned with “actually telling a story instead of stringing together a bunch of madness.”\u003c/p>\n\u003cp>A fine goal, and to some extent \u003cem>Enter the Florpus \u003c/em>achieves it. But that notion that the original series amounted only to random bits of insanity sells the original run of \u003cem>Invader Zim \u003c/em>short.\u003c/p>\n\u003cp>That madness \u003cem>was \u003c/em>the story. Yes, there was lots of yelling and gleefully gratuitous violence, and it’s those things that undoubtedly made it such a hit with the Hot Topic kids. But it wasn’t the mayhem that made the show’s comedy so singular, it was the show’s utter lack of cheap emotion, its grim nihilism, it’s vision of Earth as a place of all-consuming alienation.\u003c/p>\n\u003cp>Take that “Dark Harvest” episode mentioned above. On the surface, you’ve got the simple shock of a TV-Y7 television show depicting the removal of a child’s organs. A layer below that, however, rests a social critique I’m hesitant to call satire, but will happily label a deep-seated discomfort with American institutions.\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/v92Ql8p8-EM'\n title='//www.youtube.com/embed/v92Ql8p8-EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider: Zim’s teacher lectures his students about how the nursery rhyme “Ring around the Rosie” depicts death in the time of the Bubonic Plague. The hall pass is a tracking device that snaps around student’s necks. The school’s hallways are dirty and congested and filled with artificial light; they resemble a prison. The cafeteria meal of the day is “mayonnaise and corn.” Everything, everywhere, feels like a sardonic critique.\u003c/p>\n\u003cp>Strangely, it’s Vasquez’ insistence on \u003cem>Enter the Florpu\u003c/em>s feeling so similar to its original episodes that might be its most radical gesture. To suggest that \u003cem>Invader Zim’s \u003c/em>distrust of American institutions feels more chillingly relevant now than it did in the early ’00s may not seem shocking, but it’s no less true. In that same interview, Vasquez told \u003cem>The AV Club\u003c/em> that the “big gag” of the show has always stayed the same. “I just like the idea of highly-advanced beings resorting to childish behavior, regardless of the technology that they wield,” he said. “As powerful as you are, you’re still just a kid lobbing explosives at one another.” At least that much remains just as true, almost 20 years later.\u003c/p>\n\u003cp>The one thing that has changed is that \u003cem>Enter the Florpus\u003c/em> lives on Netflix, not basic cable. One big reason \u003cem>Invader Zim \u003c/em>seemed so radical was that you knew that any kid in America might stumble across it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Netflix is a wholly different universe. One far more crowded with content that’s competing for attention (and Netflix’s comparatively limited attempts at promotion). That means this new \u003cem>Zim \u003c/em>special will likely be enjoyed by longtime fans of the show most, as opposed to a new generation of kids. But that’s okay–for those of us who’ve been missing the show’s sarcastic bite, it feels good to have our cynical friend around again, even if only for an hour.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\"> NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%2790s+Kids%2C+Rejoice%3A+%27Invader+Zim%2C%27+A+Cult-Classic+Nicktoon%2C+Returns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits",
"headTitle": "Friendship is Still Magic, But After 9 Years, BronyCon Has Called it Quits | KQED",
"content": "\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcBNxuKZyN4\u003c/p>\n\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For the past nine years, bronies—fans of the show 'My Little Pony: Friendship is Magic'—have gathered in Baltimore for BronyCon. This year's convention was the biggest ever, but also the last.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\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/ZcBNxuKZyN4'\n title='//www.youtube.com/embed/ZcBNxuKZyN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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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"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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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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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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},
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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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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"order": 18
},
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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.",
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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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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