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"title": "Yes, I'm a Disney Adult. Let Me Explain",
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"content": "\u003cp>Hi. My name is Aisha, and I’m a Disney Adult.\u003c/p>\n\u003cp>But I’m not like those other Disney Adults out there—I’m a \u003cem>cool \u003c/em>Disney Adult.\u003c/p>\n\u003cp>I’ve certainly never\u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\"> thrown a wedding\u003c/a> where I made my guests figure out their own way of getting fed during the reception, because my partner and I chose to spend the thousands of dollars our parents budgeted for catering on guest appearances by Mickey and Minnie Mouse. Could never be me.\u003c/p>\n\u003cp>(My partner \u003cem>did \u003c/em>propose to me while we were in Disney World celebrating my 30th birthday. That’s cool, though.)\u003c/p>\n\u003cp>I have absolutely zero interest in living in a residential community\u003ca href=\"https://www.hollywoodreporter.com/lifestyle/real-estate/disney-residential-storyliving-community-cotino-coachella-valley-1235095311/\" target=\"_blank\" rel=\"noopener noreferrer\"> owned by Disney\u003c/a> and staffed with Disney cast members—what fresh \u003cem>Twilight Zone\u003c/em> hell might that turn out to be?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Still, I \u003cem>do \u003c/em>have Disney playlists in my regular rotation for working background music, and yes, I know every lyric to “Thomas O’Malley Cat” from \u003cem>The Aristocats\u003c/em>. I’m still cool, though.)\u003c/p>\n\u003cp>I would never refer to my partner as my “\u003ca href=\"https://www.instagram.com/p/CelyiLZLHa2/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Disney prince\u003c/a>“—yech!\u003c/p>\n\u003cp>(But we \u003cem>do\u003c/em> watch Disney movies old and new together, and have seen \u003cem>Aladdin\u003c/em>, \u003cem>Frozen\u003c/em>, and \u003cem>The Lion King \u003c/em>on Broadway. In case you’re wondering, we have no children, and emphatically don’t want them. We’re still cool, though.)\u003c/p>\n\u003cp>[aside postid='pop_112074']Fandom is a weird thing. It’s a state of being where at least a bit of fantasy inherently comes into play regardless of the medium, and the internet, with its memes and Tumblr pages and interest groups, has only made this more obvious while giving us myriad new ways to demonstrate being a fan. It’s also interesting to witness the ever-morphing hierarchies of fandom within the cultural zeitgeist, and what’s considered cool to obsess over and what’s not. Comic book nerds, for example, once a niche population and the butt of jokes, have more or less swallowed mainstream popular culture as a whole, thanks to the Marvelization of … well, everything.\u003c/p>\n\u003cp>This past week emphasized how not all fandoms are treated equally, thanks to a viral “Am I the Asshole” Reddit post that may or may not be a true story. In case you’re unfamiliar with “AITA,” as it’s called, it’s the judgy gift that keeps on giving, a popular Reddit subhead where users post their personal conundrums and then ask the rest of the world to decide whether they were in the wrong or right. \u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609\" target=\"_blank\" rel=\"noopener noreferrer\">This particularly chaotic post\u003c/a> about the couple who chose Mickey and Minnie over feeding their guests sparked the snarkiest wave of derision on the fandom known as “Disney Adults,” understandably. Tweets like “We need to study the\u003ca href=\"https://twitter.com/EJpineapplSLICE/status/1533910536403959809?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> minds of Disney adults\u003c/a> like we do serial killers” and “I’ve said it once, I’ll say it now, and I’ll say it 100 more times.\u003ca href=\"https://twitter.com/BaileyCarlin/status/1533809376489881600\" target=\"_blank\" rel=\"noopener noreferrer\"> Disney adults are the absolute worst people\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Way harsh, Tai.\u003c/em>\u003c/p>\n\u003cp>Making matters worse was the well-intentioned religious studies professor who swooped in to defend my ilk with\u003ca href=\"https://twitter.com/jeichlerlevine/status/1533909820453142530?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> a thread\u003c/a> that basically boiled down to “Don’t pathologize these people; to them this is like religion, except instead of worshipping hypothetical gods, they worship a corporate entity!” Twitter went into overdrive, swarming upon and devouring this professor’s infantilizing thread as if they were the hyenas descending upon Scar. The responses were golden.\u003c/p>\n\u003cp>I don’t actually care if people make fun of Disney Adults. A lot of the jokes are actually pretty funny. It’s a weird, quirky thing to re-watch \u003cem>Lady and the Tramp \u003c/em>every so often once you surpass the age of, say, 12! I own that.\u003c/p>\n\u003cp>[aside postid='arts_13883519']On the other hand, I find the\u003ca href=\"https://www.insider.com/woman-who-cried-while-meeting-goofy-interview-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\"> intense vitriol\u003c/a>—not the jokes, but the suggestions this is on par with religion or a cult—to be more than a bit confounding. From where I stand, Disney Adults don’t appear to be the kind of fandom that cares much about what others think about us, or the things we like. I don’t see them enacting massive doxing campaigns against anyone who dares say a bad word about \u003cem>Encanto\u003c/em>, like fans of certain pop stars or superhero movies. Maybe it’s because I’m a cool Disney Adult and don’t run in those circles? I don’t know.\u003c/p>\n\u003cp>Part of it seems to stem from an understandable disdain for Disney as a corporate monopoly, and all the negatives that have come from that. (For one: \u003ca href=\"https://www.npr.org/2022/03/08/1085130633/disney-response-florida-bill-dont-say-gay\" target=\"_blank\" rel=\"noopener noreferrer\">The company’s position as financially beholden to political groups that are actively trying to strip basic human rights\u003c/a>.) I agree with those critics; no one brand should have all this power.\u003c/p>\n\u003cp>The bigger component, though, is probably Disney’s “wholesome” and child-friendly image, which has been meticulously ingrained in the public imagination since the brand’s inception. Despite owning everything under the sun, from \u003cem>Star Wars \u003c/em>to Marvel to the Muppets to Pixar, the Disney brand remains lodged in people’s minds as nothing more than that iconographic image of Tinker Bell tapping Cinderella’s castle with her wand. To say something has been “Disneyfied” is dismissive shorthand for watered-down, chaste, safe, conservative. The company does plenty of things to project this fluffy image (ahem, that very hyped “exclusively gay” moment that turned out to just be\u003ca href=\"https://www.vulture.com/2017/03/heres-the-exclusively-gay-moment-in-beauty-and-the-beast.html\" target=\"_blank\" rel=\"noopener noreferrer\"> a couple seconds\u003c/a> of two guys dancing together), so I get it. I can see how it seems like the equivalent of continuing to enjoy \u003cem>Blue’s Clues \u003c/em>even after you’ve reached 5th grade—to like a product ostensibly targeted at kids is to somehow exist in a state of arrested development and be disconnected from reality, so the thinking goes.\u003c/p>\n\u003cp>To which I say: All fiction requires the audience to disconnect from reality! That’s the point! Also, have you seen \u003cem>Pinocchio \u003c/em>recently? That entire Pleasure Island sequence is like a PG-rated precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Fritz_the_Cat_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fritz the Cat\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>Even the term “Disney Adult” suggests it’s something of an oxymoron, an incongruous identity—we don’t go around calling people Muppet Grown-Ups or Mature \u003cem>Star Wars \u003c/em>fans, even as these fantastical franchises also appeal to people of all ages. \u003cem>Sigh.\u003c/em>\u003c/p>\n\u003cp>[aside postid='pop_97638']What it all boils down to is this: The Disney products we associate with princesses and talking animal sidekicks and musicals will never be “cool,” even as they’ve become the blueprint for cultural commodification in nearly every corner of western culture for nearly a century. And that’s fine! On the social ladder of pop culture fandom, Disney Adults are the theater kids. (Yes, in case you were wondering, I was a theater kid, too. A cool one, though.) We’re passionate—some a little too much so—and have a tendency to burst out into song at unexpected moments. We like to rank villains and princes, and drop way too much money for the chance to ride Space Mountain. We are an acquired taste. Just like every other cult–er, fandom.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This essay first appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations on what’s making us happy.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more,\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yes%2C+I%27m+a+Disney+Adult.+Let+me+explain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hi. My name is Aisha, and I’m a Disney Adult.\u003c/p>\n\u003cp>But I’m not like those other Disney Adults out there—I’m a \u003cem>cool \u003c/em>Disney Adult.\u003c/p>\n\u003cp>I’ve certainly never\u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\"> thrown a wedding\u003c/a> where I made my guests figure out their own way of getting fed during the reception, because my partner and I chose to spend the thousands of dollars our parents budgeted for catering on guest appearances by Mickey and Minnie Mouse. Could never be me.\u003c/p>\n\u003cp>(My partner \u003cem>did \u003c/em>propose to me while we were in Disney World celebrating my 30th birthday. That’s cool, though.)\u003c/p>\n\u003cp>I have absolutely zero interest in living in a residential community\u003ca href=\"https://www.hollywoodreporter.com/lifestyle/real-estate/disney-residential-storyliving-community-cotino-coachella-valley-1235095311/\" target=\"_blank\" rel=\"noopener noreferrer\"> owned by Disney\u003c/a> and staffed with Disney cast members—what fresh \u003cem>Twilight Zone\u003c/em> hell might that turn out to be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Still, I \u003cem>do \u003c/em>have Disney playlists in my regular rotation for working background music, and yes, I know every lyric to “Thomas O’Malley Cat” from \u003cem>The Aristocats\u003c/em>. I’m still cool, though.)\u003c/p>\n\u003cp>I would never refer to my partner as my “\u003ca href=\"https://www.instagram.com/p/CelyiLZLHa2/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Disney prince\u003c/a>“—yech!\u003c/p>\n\u003cp>(But we \u003cem>do\u003c/em> watch Disney movies old and new together, and have seen \u003cem>Aladdin\u003c/em>, \u003cem>Frozen\u003c/em>, and \u003cem>The Lion King \u003c/em>on Broadway. In case you’re wondering, we have no children, and emphatically don’t want them. We’re still cool, though.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fandom is a weird thing. It’s a state of being where at least a bit of fantasy inherently comes into play regardless of the medium, and the internet, with its memes and Tumblr pages and interest groups, has only made this more obvious while giving us myriad new ways to demonstrate being a fan. It’s also interesting to witness the ever-morphing hierarchies of fandom within the cultural zeitgeist, and what’s considered cool to obsess over and what’s not. Comic book nerds, for example, once a niche population and the butt of jokes, have more or less swallowed mainstream popular culture as a whole, thanks to the Marvelization of … well, everything.\u003c/p>\n\u003cp>This past week emphasized how not all fandoms are treated equally, thanks to a viral “Am I the Asshole” Reddit post that may or may not be a true story. In case you’re unfamiliar with “AITA,” as it’s called, it’s the judgy gift that keeps on giving, a popular Reddit subhead where users post their personal conundrums and then ask the rest of the world to decide whether they were in the wrong or right. \u003ca href=\"https://twitter.com/theashrb/status/1533466143389892609\" target=\"_blank\" rel=\"noopener noreferrer\">This particularly chaotic post\u003c/a> about the couple who chose Mickey and Minnie over feeding their guests sparked the snarkiest wave of derision on the fandom known as “Disney Adults,” understandably. Tweets like “We need to study the\u003ca href=\"https://twitter.com/EJpineapplSLICE/status/1533910536403959809?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> minds of Disney adults\u003c/a> like we do serial killers” and “I’ve said it once, I’ll say it now, and I’ll say it 100 more times.\u003ca href=\"https://twitter.com/BaileyCarlin/status/1533809376489881600\" target=\"_blank\" rel=\"noopener noreferrer\"> Disney adults are the absolute worst people\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Way harsh, Tai.\u003c/em>\u003c/p>\n\u003cp>Making matters worse was the well-intentioned religious studies professor who swooped in to defend my ilk with\u003ca href=\"https://twitter.com/jeichlerlevine/status/1533909820453142530?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener noreferrer\"> a thread\u003c/a> that basically boiled down to “Don’t pathologize these people; to them this is like religion, except instead of worshipping hypothetical gods, they worship a corporate entity!” Twitter went into overdrive, swarming upon and devouring this professor’s infantilizing thread as if they were the hyenas descending upon Scar. The responses were golden.\u003c/p>\n\u003cp>I don’t actually care if people make fun of Disney Adults. A lot of the jokes are actually pretty funny. It’s a weird, quirky thing to re-watch \u003cem>Lady and the Tramp \u003c/em>every so often once you surpass the age of, say, 12! I own that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the other hand, I find the\u003ca href=\"https://www.insider.com/woman-who-cried-while-meeting-goofy-interview-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\"> intense vitriol\u003c/a>—not the jokes, but the suggestions this is on par with religion or a cult—to be more than a bit confounding. From where I stand, Disney Adults don’t appear to be the kind of fandom that cares much about what others think about us, or the things we like. I don’t see them enacting massive doxing campaigns against anyone who dares say a bad word about \u003cem>Encanto\u003c/em>, like fans of certain pop stars or superhero movies. Maybe it’s because I’m a cool Disney Adult and don’t run in those circles? I don’t know.\u003c/p>\n\u003cp>Part of it seems to stem from an understandable disdain for Disney as a corporate monopoly, and all the negatives that have come from that. (For one: \u003ca href=\"https://www.npr.org/2022/03/08/1085130633/disney-response-florida-bill-dont-say-gay\" target=\"_blank\" rel=\"noopener noreferrer\">The company’s position as financially beholden to political groups that are actively trying to strip basic human rights\u003c/a>.) I agree with those critics; no one brand should have all this power.\u003c/p>\n\u003cp>The bigger component, though, is probably Disney’s “wholesome” and child-friendly image, which has been meticulously ingrained in the public imagination since the brand’s inception. Despite owning everything under the sun, from \u003cem>Star Wars \u003c/em>to Marvel to the Muppets to Pixar, the Disney brand remains lodged in people’s minds as nothing more than that iconographic image of Tinker Bell tapping Cinderella’s castle with her wand. To say something has been “Disneyfied” is dismissive shorthand for watered-down, chaste, safe, conservative. The company does plenty of things to project this fluffy image (ahem, that very hyped “exclusively gay” moment that turned out to just be\u003ca href=\"https://www.vulture.com/2017/03/heres-the-exclusively-gay-moment-in-beauty-and-the-beast.html\" target=\"_blank\" rel=\"noopener noreferrer\"> a couple seconds\u003c/a> of two guys dancing together), so I get it. I can see how it seems like the equivalent of continuing to enjoy \u003cem>Blue’s Clues \u003c/em>even after you’ve reached 5th grade—to like a product ostensibly targeted at kids is to somehow exist in a state of arrested development and be disconnected from reality, so the thinking goes.\u003c/p>\n\u003cp>To which I say: All fiction requires the audience to disconnect from reality! That’s the point! Also, have you seen \u003cem>Pinocchio \u003c/em>recently? That entire Pleasure Island sequence is like a PG-rated precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Fritz_the_Cat_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fritz the Cat\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>Even the term “Disney Adult” suggests it’s something of an oxymoron, an incongruous identity—we don’t go around calling people Muppet Grown-Ups or Mature \u003cem>Star Wars \u003c/em>fans, even as these fantastical franchises also appeal to people of all ages. \u003cem>Sigh.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What it all boils down to is this: The Disney products we associate with princesses and talking animal sidekicks and musicals will never be “cool,” even as they’ve become the blueprint for cultural commodification in nearly every corner of western culture for nearly a century. And that’s fine! On the social ladder of pop culture fandom, Disney Adults are the theater kids. (Yes, in case you were wondering, I was a theater kid, too. A cool one, though.) We’re passionate—some a little too much so—and have a tendency to burst out into song at unexpected moments. We like to rank villains and princes, and drop way too much money for the chance to ride Space Mountain. We are an acquired taste. Just like every other cult–er, fandom.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This essay first appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations on what’s making us happy.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more,\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yes%2C+I%27m+a+Disney+Adult.+Let+me+explain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the butterflies in your stomach when you’re crushing on someone to the anxiety you feel about life after high school\u003cem>—\u003c/em>every emotion can be heightened when you’re a teen.\u003c/p>\n\u003cp>Sometimes even minor inconveniences can make you feel as if the world is ending, which is how it was for 19-year-old Iman Vellani.\u003c/p>\n\u003cp>But there was one thing she didn’t have to worry about: what she was going to do next. Her future was \u003cem>Ms. Marvel\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13914446\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/aav1523_101_trl_comp_v052_d00a8f7f_custom-9cbd448a11b298a3b1f7e62967dad6556db71b8d-800x471.jpe\" alt=\"A girl of Pakistani descent stares dumbfounded into the camera, her eyes glowing red.\" width=\"800\" height=\"471\">\u003cfigcaption class=\"wp-caption-text\">Kamala Khan, portrayed by Iman Vellani, is a Pakistani American teen living in Jersey City who discovers she has superpowers.\u003c/figcaption>\u003c/figure>\n\u003cp>Before the end of her senior year, Vellani had gotten the news she was going to star as Kamala Khan, Marvel’s first Muslim superhero to headline her own comic, in the new Disney+ show.\u003c/p>\n\u003cp>For Vellani, whose childhood was spent reading comics and watching Marvel movies, this was a dream come true. But her new reality as a star in the Marvel Cinematic Universe still feels surreal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s like when you walk into a room that you’re not supposed to be in, but no one kicks you out. That’s what’s happening here,” she tells NPR’s \u003cem>All Things Considered\u003c/em>.\u003c/p>\n\u003cp>Scheduled to premiere Wednesday, \u003ca href=\"https://www.npr.org/2019/09/02/756679264/live-action-ms-marvel-is-coming-to-disney-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">the show follows Khan\u003c/a>, a Pakistani-American 16-year-old from Jersey City who spends her free time making online videos about the Avengers—and soon discovers she has powers of her own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m9EX0f6V11Y\u003c/p>\n\u003cp>Like her character, Vellani’s parents emigrated from Pakistan, and the actress is happy to see—and be part of—a superhero show that represents her culture and community.\u003c/p>\n\u003cp>Vellani discussed the filming of \u003cem>Ms. Marvel\u003c/em>, how it helped her get back in touch with her roots and why representation in TV and film matters.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On how filming\u003cem> Ms. Marvel\u003c/em> helped her reconnect with her heritage:\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_10137029']I was born in Pakistan, and we moved to Canada when I was 1. But my parents really did try to make me as connected with my culture and religion as possible because they were in touch with that part of themselves. But growing up in Canada and being so enamored by American pop culture and Hollywood, I was super dismissive of being Pakistani. It was never something I saw value in up until filming the show, where my eyes were opened. I was meeting so many Muslims and South Asians that are so in touch with their roots, and that really made me go back and reconnect with mine. It’s so cool [that] I can kind of find myself again.\u003c/p>\n\u003cp>\u003cstrong>On what it means to have Kamala Khan as part of the Marvel Cinematic Universe: \u003c/strong>\u003c/p>\n\u003cp>Marvel is one of the most accessible franchises in the entire world, and film and TV totally shape how we see people in this world. I think it’s so wonderful to show a child of immigrant parents who’s proud of their culture and doesn’t neglect it. I think it’s great that we’re showing Muslims on screen having fun. Every time you picture Brown people, it’s either they’re super serious or they’re a terrorist. So it’s really great that we can bring some humanity to this culture.\u003c/p>\n\u003cp>\u003cstrong>On what advice she would offer other teens:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I really think it’s important to find a passion and explore it. You don’t have to have everything figured out at 16. You’re not supposed to. And I think young people should hopefully be comforted by Kamala as a character and see that even a superhero doesn’t have her life figured out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ms.+Marvel%27+star+Iman+Vellani+is+ready+to+officially+join+the+MCU&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the butterflies in your stomach when you’re crushing on someone to the anxiety you feel about life after high school\u003cem>—\u003c/em>every emotion can be heightened when you’re a teen.\u003c/p>\n\u003cp>Sometimes even minor inconveniences can make you feel as if the world is ending, which is how it was for 19-year-old Iman Vellani.\u003c/p>\n\u003cp>But there was one thing she didn’t have to worry about: what she was going to do next. Her future was \u003cem>Ms. Marvel\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13914446\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/aav1523_101_trl_comp_v052_d00a8f7f_custom-9cbd448a11b298a3b1f7e62967dad6556db71b8d-800x471.jpe\" alt=\"A girl of Pakistani descent stares dumbfounded into the camera, her eyes glowing red.\" width=\"800\" height=\"471\">\u003cfigcaption class=\"wp-caption-text\">Kamala Khan, portrayed by Iman Vellani, is a Pakistani American teen living in Jersey City who discovers she has superpowers.\u003c/figcaption>\u003c/figure>\n\u003cp>Before the end of her senior year, Vellani had gotten the news she was going to star as Kamala Khan, Marvel’s first Muslim superhero to headline her own comic, in the new Disney+ show.\u003c/p>\n\u003cp>For Vellani, whose childhood was spent reading comics and watching Marvel movies, this was a dream come true. But her new reality as a star in the Marvel Cinematic Universe still feels surreal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like when you walk into a room that you’re not supposed to be in, but no one kicks you out. That’s what’s happening here,” she tells NPR’s \u003cem>All Things Considered\u003c/em>.\u003c/p>\n\u003cp>Scheduled to premiere Wednesday, \u003ca href=\"https://www.npr.org/2019/09/02/756679264/live-action-ms-marvel-is-coming-to-disney-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">the show follows Khan\u003c/a>, a Pakistani-American 16-year-old from Jersey City who spends her free time making online videos about the Avengers—and soon discovers she has powers of her own.\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/m9EX0f6V11Y'\n title='//www.youtube.com/embed/m9EX0f6V11Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like her character, Vellani’s parents emigrated from Pakistan, and the actress is happy to see—and be part of—a superhero show that represents her culture and community.\u003c/p>\n\u003cp>Vellani discussed the filming of \u003cem>Ms. Marvel\u003c/em>, how it helped her get back in touch with her roots and why representation in TV and film matters.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On how filming\u003cem> Ms. Marvel\u003c/em> helped her reconnect with her heritage:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I was born in Pakistan, and we moved to Canada when I was 1. But my parents really did try to make me as connected with my culture and religion as possible because they were in touch with that part of themselves. But growing up in Canada and being so enamored by American pop culture and Hollywood, I was super dismissive of being Pakistani. It was never something I saw value in up until filming the show, where my eyes were opened. I was meeting so many Muslims and South Asians that are so in touch with their roots, and that really made me go back and reconnect with mine. It’s so cool [that] I can kind of find myself again.\u003c/p>\n\u003cp>\u003cstrong>On what it means to have Kamala Khan as part of the Marvel Cinematic Universe: \u003c/strong>\u003c/p>\n\u003cp>Marvel is one of the most accessible franchises in the entire world, and film and TV totally shape how we see people in this world. I think it’s so wonderful to show a child of immigrant parents who’s proud of their culture and doesn’t neglect it. I think it’s great that we’re showing Muslims on screen having fun. Every time you picture Brown people, it’s either they’re super serious or they’re a terrorist. So it’s really great that we can bring some humanity to this culture.\u003c/p>\n\u003cp>\u003cstrong>On what advice she would offer other teens:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I really think it’s important to find a passion and explore it. You don’t have to have everything figured out at 16. You’re not supposed to. And I think young people should hopefully be comforted by Kamala as a character and see that even a superhero doesn’t have her life figured out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ms.+Marvel%27+star+Iman+Vellani+is+ready+to+officially+join+the+MCU&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Racist 'Star Wars' Fans Aren't New. Why Doesn't Disney Do More to Protect its Actors?",
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"content": "\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\n\u003cp>https://twitter.com/ReignOfApril/status/1531660224456626177\u003c/p>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>[aside postid='arts_13892633']Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\n\u003cp>https://twitter.com/YNB/status/1531760996489961472\u003c/p>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/starwars/status/1531804726165401600\u003c/p>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>[aside postid='pop_83529']It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Marvel's Uneven 'Moon Knight,' Oscar Isaac Waxes and Wanes",
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"content": "\u003cp>The ‘reluctant hero’ cliche is a tough thing to get right.\u003c/p>\n\u003cp>Whenever a creator busts it out, they’re knowingly inviting the audience’s frustration—in fact, they’re \u003cem>using \u003c/em>it, to drive the story. We the audience don’t understand why a character gifted with whatever power they’re gifted with would avoid using that power; we paid our money to see that power unleashed, after all.\u003c/p>\n\u003cp>But the creator wants to build tension, so for long stretches of time the hero stubbornly refuses to go full ham, even when the situation clearly calls for it. The creator is surfing on a wave of the audience’s frustration for as long as they can, knowing that it will inevitably crash.\u003c/p>\n\u003cp>[aside postid='arts_13902470']In conventional hero stories, the reason for the refusal tends to devolve to 1. an attempt to avoid the weight of heroic responsibility, or 2. an attempt to prevent lots and lots of bad guys from dying extremely wet, splattery, flesh-gobbetty deaths.\u003c/p>\n\u003cp>In Marvel’s \u003cem>Moon Knight\u003c/em>, Steven Grant (Oscar Isaac), the meek museum gift-shop clerk who learns that his sleepwalking condition is more a sleepmurdering condition, is your classic Option 2 kind of guy. He’s horrified at the knowledge that he seems to be sharing his body with a grim ultraviolent mercenary named Marc Spector (also Oscar Isaac), with whom he can only converse by gazing into a mirror or other reflective surface.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Luckily, Steven/Marc’s particular corner of the Marvel Universe is positively \u003cem>festooned \u003c/em>with wildly convenient reflective surfaces. Seriously, everywhere he looks. The whole show might as well take place in a Bed Bath and Beyond.)\u003c/p>\n\u003cp>The series grounds us in Steven’s point-of-view from the start, which is smart—we get to come along for the ride as he slips in and out of control of the body he shares. These sequences are among the show’s cleverest and most entertaining. Creator Jeremy Slater and his team delight in frustrating our expectations by frequently denying us the visceral thrill of onscreen violence and having Steven “awaken” only in its grisly aftermath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LzXkpLQUWQo\u003c/p>\n\u003ch3>The reluctant hero setup backfires\u003c/h3>\n\u003cp>Eventually, around halfway through the season’s run (\u003cem>Moon Knight \u003c/em>is a six-episode series, the first four of which were made available to critics), the show dutifully locks into the familiar ‘reluctant hero’ schtick: Marc wants to take over to deal with the bad guys, Steven refuses to let him but then relents, rinse, repeat.\u003c/p>\n\u003cp>The problem, however, is that we the audience aren’t where the show wants us to be, whenever Marc finally gets to unleash himself on the baddies. That all-important impatient/frustrated threshold is still miles away.\u003c/p>\n\u003cp>[aside postid='arts_13901046']Because Marc? Hardcore, badass man of adventure? Is boring.\u003c/p>\n\u003cp>But Steven? Goofy, bumbling museum nerd? Is funny.\u003c/p>\n\u003cp>Isaac is clearly having a great time playing Steven, investing the character with a roster of iffily-accented Cockney vocal tics and other bits of business to flesh him out and make him someone we can care about.\u003c/p>\n\u003cp>But in the underwritten role of Marc, Isaac seems determined to disavow his natural actorly charisma to play a glum, laconic cipher. If he’s going for “lone wolf, wounded by his past,” he’s ended up closer to “surly, jet-lagged office manager.”\u003c/p>\n\u003cp>The net effect is to reverse our rooting interest—instead of impatiently waiting for Steven to let Marc take over and unleash hell, we find ourselves hoping Steven can keep hanging around, so we don’t have to deal with Marc and his one-note, dull-as-dishwater machismo.\u003c/p>\n\u003ch3>\u003cem>Moon Knight\u003c/em> is mostly not about Moon Knight\u003c/h3>\n\u003cp>You might notice I haven’t gotten around to Moon Knight himself, yet. You know: The \u003ca href=\"https://media.giphy.com/media/26hkhQfnuQIiTEgs8/giphy.gif\" target=\"_blank\" rel=\"noopener noreferrer\">titular role\u003c/a>? The guy in the white suit who’s on all the promo materials? Looks like what would happen if you mummified Deadpool? That guy?\u003c/p>\n\u003cp>That’s because the show doesn’t really get around to him a lot, either. Oh, he shows up from time to time, as he’s the avatar of the ancient Egyptian god Khonshu (who also shows up a bunch, mostly to neg on Steven—he’s voiced by F. Murray Abraham). (If you’ve seen \u003cem>Inside Llewyn Davis\u003c/em>, it’s fun to imagine the bird-skull-headed mummy god telling Steven/Marc “I don’t see money here,” in their every scene together.)\u003c/p>\n\u003cp>Both Marc and Steven can become Moon Knight, it turns out—and the show has some fun with their divergent takes on the hero—but \u003cem>Moon Knigh\u003c/em>t is mostly the Steven and Marc show.\u003c/p>\n\u003cp>[aside postid='arts_13904458']That might be the writers deliberately frustrating our expectations again, or it might have more to do with Isaac not wanting to be acting through a facemask in his scenes with Ethan Hawke’s Arthur Harrow, a cult leader doing the dirty work of a rival Egyptian god.\u003c/p>\n\u003cp>\u003cem>Moon Knight\u003c/em>, though a Marvel Universe series, maintains a narrow, almost hermetic focus on the Steven/Marc dynamic in its early episodes. Marvel fans looking for the usual dense network of narrative connections to other properties will have to content themselves with tossed-off asides (“that business in Madripoor”), even though the show’s whole ancient-beings-walk-among-us vibe would seem to invite attention from an Eternal or two.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something happens at the end of the fourth episode that points to a potential shake-up in the show’s narrative mix between Steven and Marc, which seems promising. In the meantime, however, \u003cem>Moon Knight\u003c/em> plays out as an insular psychodrama involving the three characters (Steven/Marc/Moon Knight) played by Isaac, only one of which—Steven, bruv—is clearly defined enough to hold our interest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Marvel%27s+uneven+%27Moon+Knight%2C%27+Oscar+Isaac+waxes+and+wanes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In conventional hero stories, the reason for the refusal tends to devolve to 1. an attempt to avoid the weight of heroic responsibility, or 2. an attempt to prevent lots and lots of bad guys from dying extremely wet, splattery, flesh-gobbetty deaths.\u003c/p>\n\u003cp>In Marvel’s \u003cem>Moon Knight\u003c/em>, Steven Grant (Oscar Isaac), the meek museum gift-shop clerk who learns that his sleepwalking condition is more a sleepmurdering condition, is your classic Option 2 kind of guy. He’s horrified at the knowledge that he seems to be sharing his body with a grim ultraviolent mercenary named Marc Spector (also Oscar Isaac), with whom he can only converse by gazing into a mirror or other reflective surface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Luckily, Steven/Marc’s particular corner of the Marvel Universe is positively \u003cem>festooned \u003c/em>with wildly convenient reflective surfaces. Seriously, everywhere he looks. The whole show might as well take place in a Bed Bath and Beyond.)\u003c/p>\n\u003cp>The series grounds us in Steven’s point-of-view from the start, which is smart—we get to come along for the ride as he slips in and out of control of the body he shares. These sequences are among the show’s cleverest and most entertaining. Creator Jeremy Slater and his team delight in frustrating our expectations by frequently denying us the visceral thrill of onscreen violence and having Steven “awaken” only in its grisly aftermath.\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/LzXkpLQUWQo'\n title='//www.youtube.com/embed/LzXkpLQUWQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The reluctant hero setup backfires\u003c/h3>\n\u003cp>Eventually, around halfway through the season’s run (\u003cem>Moon Knight \u003c/em>is a six-episode series, the first four of which were made available to critics), the show dutifully locks into the familiar ‘reluctant hero’ schtick: Marc wants to take over to deal with the bad guys, Steven refuses to let him but then relents, rinse, repeat.\u003c/p>\n\u003cp>The problem, however, is that we the audience aren’t where the show wants us to be, whenever Marc finally gets to unleash himself on the baddies. That all-important impatient/frustrated threshold is still miles away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because Marc? Hardcore, badass man of adventure? Is boring.\u003c/p>\n\u003cp>But Steven? Goofy, bumbling museum nerd? Is funny.\u003c/p>\n\u003cp>Isaac is clearly having a great time playing Steven, investing the character with a roster of iffily-accented Cockney vocal tics and other bits of business to flesh him out and make him someone we can care about.\u003c/p>\n\u003cp>But in the underwritten role of Marc, Isaac seems determined to disavow his natural actorly charisma to play a glum, laconic cipher. If he’s going for “lone wolf, wounded by his past,” he’s ended up closer to “surly, jet-lagged office manager.”\u003c/p>\n\u003cp>The net effect is to reverse our rooting interest—instead of impatiently waiting for Steven to let Marc take over and unleash hell, we find ourselves hoping Steven can keep hanging around, so we don’t have to deal with Marc and his one-note, dull-as-dishwater machismo.\u003c/p>\n\u003ch3>\u003cem>Moon Knight\u003c/em> is mostly not about Moon Knight\u003c/h3>\n\u003cp>You might notice I haven’t gotten around to Moon Knight himself, yet. You know: The \u003ca href=\"https://media.giphy.com/media/26hkhQfnuQIiTEgs8/giphy.gif\" target=\"_blank\" rel=\"noopener noreferrer\">titular role\u003c/a>? The guy in the white suit who’s on all the promo materials? Looks like what would happen if you mummified Deadpool? That guy?\u003c/p>\n\u003cp>That’s because the show doesn’t really get around to him a lot, either. Oh, he shows up from time to time, as he’s the avatar of the ancient Egyptian god Khonshu (who also shows up a bunch, mostly to neg on Steven—he’s voiced by F. Murray Abraham). (If you’ve seen \u003cem>Inside Llewyn Davis\u003c/em>, it’s fun to imagine the bird-skull-headed mummy god telling Steven/Marc “I don’t see money here,” in their every scene together.)\u003c/p>\n\u003cp>Both Marc and Steven can become Moon Knight, it turns out—and the show has some fun with their divergent takes on the hero—but \u003cem>Moon Knigh\u003c/em>t is mostly the Steven and Marc show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That might be the writers deliberately frustrating our expectations again, or it might have more to do with Isaac not wanting to be acting through a facemask in his scenes with Ethan Hawke’s Arthur Harrow, a cult leader doing the dirty work of a rival Egyptian god.\u003c/p>\n\u003cp>\u003cem>Moon Knight\u003c/em>, though a Marvel Universe series, maintains a narrow, almost hermetic focus on the Steven/Marc dynamic in its early episodes. Marvel fans looking for the usual dense network of narrative connections to other properties will have to content themselves with tossed-off asides (“that business in Madripoor”), even though the show’s whole ancient-beings-walk-among-us vibe would seem to invite attention from an Eternal or two.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something happens at the end of the fourth episode that points to a potential shake-up in the show’s narrative mix between Steven and Marc, which seems promising. In the meantime, however, \u003cem>Moon Knight\u003c/em> plays out as an insular psychodrama involving the three characters (Steven/Marc/Moon Knight) played by Isaac, only one of which—Steven, bruv—is clearly defined enough to hold our interest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Marvel%27s+uneven+%27Moon+Knight%2C%27+Oscar+Isaac+waxes+and+wanes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Disney Defends its 'Snow White' Remake After Criticism From Peter Dinklage",
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"content": "\u003cp>Disney is on the defensive after actor Peter Dinklage criticized its plans to release a live-action remake of \u003cem>Snow White and the Seven Dwarfs\u003c/em>.\u003c/p>\n\u003cp>The studio \u003ca href=\"https://deadline.com/2021/06/snow-white-rachel-zegler-1234778797/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in June 2021\u003c/a> that it had cast \u003cem>West Side Story\u003c/em> breakout star Rachel Zegler as the titular character in a forthcoming remake of the 1937 film, which was Disney’s first animated feature and a major box office success.\u003c/p>\n\u003cp>[aside postid='arts_13874896']The live-action version will be directed by Marc Webb (best known for the Andrew Garfield Spider-Man movies) and \u003ca href=\"https://deadline.com/2021/11/snow-white-gal-gadot-evil-queen-disneys-latest-1234867535/\" target=\"_blank\" rel=\"noopener noreferrer\">feature Gal Gadot\u003c/a> as the evil queen. Disney previously said that production would start in 2022.\u003c/p>\n\u003cp>Dinklage pushed back against the remake in an episode of the \u003ca href=\"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cub21ueWNvbnRlbnQuY29tL2QvcGxheWxpc3QvYWFlYTRlNjktYWY1MS00OTVlLWFmYzktYTk3NjAxNDY5MjJiLzhhNzU1YjIyLThmNzItNGQ0NC04ZmY5LWFiNzkwMTNmZGEyNS82YjhhNTA2OC05YmVhLTQzOWYtYmQ0ZC1hYjc5MDEzZmRhMmIvcG9kY2FzdC5yc3M?sa=X&ved=0CAMQ4aUDahgKEwiYm8uRvs_1AhUAAAAAHQAAAAAQuQM&hl=en-GB\">“WTF With Marc Maron”\u003c/a> podcast that aired Monday.\u003c/p>\n\u003cp>The Emmy-winning \u003cem>Game of Thrones\u003c/em> star, who has a form of dwarfism called \u003ca href=\"https://www.buzzfeed.com/rachelbrodsky/peter-dinklage-talked-about-getting-stares-and-second-looks\" target=\"_blank\" rel=\"noopener noreferrer\">achondroplasia\u003c/a>, said he was “taken aback” by the studio’s celebration of casting a Latina lead even as it revisits a story with problematic representation of dwarfs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Take a step back and look at what you’re doing there. It makes no sense to me,” he said, about an hour into the 80-minute episode. “You’re progressive in one way and you’re still making that fucking backward story about seven dwarfs living in a cave together, what the fuck are you doing, man?”\u003c/p>\n\u003cp>Dinklage stressed that he meant “literally no offense to anyone” and sent “all love and respect to the actress and to the people who thought they were doing the right thing.” But his frustration was palpable.\u003c/p>\n\u003cp>“Have I done nothing to advance the cause from my soapbox?” he continued. “I guess I’m not loud enough.”\u003c/p>\n\u003cp>He added that he would enthusiastically support a more sensitive retelling of the 85-year-old film with a “cool, progressive spin on it” but wasn’t otherwise convinced.\u003c/p>\n\u003cp>Dinklage’s comments picked up steam online, and Disney responded to his concerns in a statement \u003ca href=\"https://variety.com/2022/film/news/disney-responds-peter-dinklage-snow-white-outrage-1235163195/\" target=\"_blank\" rel=\"noopener noreferrer\">reported by \u003c/a>\u003ca href=\"https://variety.com/2022/film/news/disney-responds-peter-dinklage-snow-white-outrage-1235163195/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> and other outlets on Tuesday.\u003c/p>\n\u003cp>“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community,” a spokesperson said. “We look forward to sharing more as the film heads into production after a lengthy development period.”\u003c/p>\n\u003cp>[aside postid='arts_13898085']Dinklage said on the podcast that he was not affiliated with any particular group and has expressed discomfort at the thought of speaking on behalf of other people his size in previous interviews, telling \u003ca href=\"https://www.nytimes.com/2012/04/01/magazine/peter-dinklage-was-smart-to-say-no.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times Magazine \u003c/em>\u003c/a>in 2012 that “every person my size has a different life, a different history.”\u003c/p>\n\u003cp>Still, his comments about the movie gained traction on social media, with high-profile \u003ca href=\"https://twitter.com/EricMGarcia/status/1486006399566073863?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">writers\u003c/a> and \u003ca href=\"https://twitter.com/RebeccaCokley/status/1485791590794866690?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">activists\u003c/a> voicing their agreement.\u003c/p>\n\u003cp>Dinklage, who made a name for himself with roles like a grieving man in \u003cem>The Station Agent\u003c/em> and a pugnacious children’s book publisher in \u003cem>Elf, \u003c/em>\u003ca href=\"https://www.npr.org/2012/05/21/153198363/peter-dinklage-on-thrones-and-on-his-own-terms\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR in 2012\u003c/a> that he has tried to find roles that upend the stereotypical roles given to actors of his height, even if he hasn’t always been successful.\u003c/p>\n\u003cp>“You do have to make a living,” he said at the time. “I do not fault anyone else who makes choices to play characters that they wished they hadn’t. … Because at the end of the day, none of us are happy with our jobs all the time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-26#heres-how-disney-responded-to-peter-dinklages-criticism-of-its-snow-white-remake\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disney+defends+its+%27Snow+White%27+remake+after+criticism+from+Peter+Dinklage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disney is on the defensive after actor Peter Dinklage criticized its plans to release a live-action remake of \u003cem>Snow White and the Seven Dwarfs\u003c/em>.\u003c/p>\n\u003cp>The studio \u003ca href=\"https://deadline.com/2021/06/snow-white-rachel-zegler-1234778797/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in June 2021\u003c/a> that it had cast \u003cem>West Side Story\u003c/em> breakout star Rachel Zegler as the titular character in a forthcoming remake of the 1937 film, which was Disney’s first animated feature and a major box office success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The live-action version will be directed by Marc Webb (best known for the Andrew Garfield Spider-Man movies) and \u003ca href=\"https://deadline.com/2021/11/snow-white-gal-gadot-evil-queen-disneys-latest-1234867535/\" target=\"_blank\" rel=\"noopener noreferrer\">feature Gal Gadot\u003c/a> as the evil queen. Disney previously said that production would start in 2022.\u003c/p>\n\u003cp>Dinklage pushed back against the remake in an episode of the \u003ca href=\"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cub21ueWNvbnRlbnQuY29tL2QvcGxheWxpc3QvYWFlYTRlNjktYWY1MS00OTVlLWFmYzktYTk3NjAxNDY5MjJiLzhhNzU1YjIyLThmNzItNGQ0NC04ZmY5LWFiNzkwMTNmZGEyNS82YjhhNTA2OC05YmVhLTQzOWYtYmQ0ZC1hYjc5MDEzZmRhMmIvcG9kY2FzdC5yc3M?sa=X&ved=0CAMQ4aUDahgKEwiYm8uRvs_1AhUAAAAAHQAAAAAQuQM&hl=en-GB\">“WTF With Marc Maron”\u003c/a> podcast that aired Monday.\u003c/p>\n\u003cp>The Emmy-winning \u003cem>Game of Thrones\u003c/em> star, who has a form of dwarfism called \u003ca href=\"https://www.buzzfeed.com/rachelbrodsky/peter-dinklage-talked-about-getting-stares-and-second-looks\" target=\"_blank\" rel=\"noopener noreferrer\">achondroplasia\u003c/a>, said he was “taken aback” by the studio’s celebration of casting a Latina lead even as it revisits a story with problematic representation of dwarfs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Take a step back and look at what you’re doing there. It makes no sense to me,” he said, about an hour into the 80-minute episode. “You’re progressive in one way and you’re still making that fucking backward story about seven dwarfs living in a cave together, what the fuck are you doing, man?”\u003c/p>\n\u003cp>Dinklage stressed that he meant “literally no offense to anyone” and sent “all love and respect to the actress and to the people who thought they were doing the right thing.” But his frustration was palpable.\u003c/p>\n\u003cp>“Have I done nothing to advance the cause from my soapbox?” he continued. “I guess I’m not loud enough.”\u003c/p>\n\u003cp>He added that he would enthusiastically support a more sensitive retelling of the 85-year-old film with a “cool, progressive spin on it” but wasn’t otherwise convinced.\u003c/p>\n\u003cp>Dinklage’s comments picked up steam online, and Disney responded to his concerns in a statement \u003ca href=\"https://variety.com/2022/film/news/disney-responds-peter-dinklage-snow-white-outrage-1235163195/\" target=\"_blank\" rel=\"noopener noreferrer\">reported by \u003c/a>\u003ca href=\"https://variety.com/2022/film/news/disney-responds-peter-dinklage-snow-white-outrage-1235163195/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> and other outlets on Tuesday.\u003c/p>\n\u003cp>“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community,” a spokesperson said. “We look forward to sharing more as the film heads into production after a lengthy development period.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dinklage said on the podcast that he was not affiliated with any particular group and has expressed discomfort at the thought of speaking on behalf of other people his size in previous interviews, telling \u003ca href=\"https://www.nytimes.com/2012/04/01/magazine/peter-dinklage-was-smart-to-say-no.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times Magazine \u003c/em>\u003c/a>in 2012 that “every person my size has a different life, a different history.”\u003c/p>\n\u003cp>Still, his comments about the movie gained traction on social media, with high-profile \u003ca href=\"https://twitter.com/EricMGarcia/status/1486006399566073863?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">writers\u003c/a> and \u003ca href=\"https://twitter.com/RebeccaCokley/status/1485791590794866690?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">activists\u003c/a> voicing their agreement.\u003c/p>\n\u003cp>Dinklage, who made a name for himself with roles like a grieving man in \u003cem>The Station Agent\u003c/em> and a pugnacious children’s book publisher in \u003cem>Elf, \u003c/em>\u003ca href=\"https://www.npr.org/2012/05/21/153198363/peter-dinklage-on-thrones-and-on-his-own-terms\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR in 2012\u003c/a> that he has tried to find roles that upend the stereotypical roles given to actors of his height, even if he hasn’t always been successful.\u003c/p>\n\u003cp>“You do have to make a living,” he said at the time. “I do not fault anyone else who makes choices to play characters that they wished they hadn’t. … Because at the end of the day, none of us are happy with our jobs all the time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared in the \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-26#heres-how-disney-responded-to-peter-dinklages-criticism-of-its-snow-white-remake\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disney+defends+its+%27Snow+White%27+remake+after+criticism+from+Peter+Dinklage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Book of Boba Fett' Adds an Impressive Chapter to the 'Star Wars' Saga",
"headTitle": "‘The Book of Boba Fett’ Adds an Impressive Chapter to the ‘Star Wars’ Saga | KQED",
"content": "\u003cp>In one of the final episodes of the brilliant AMC drama series \u003ca href=\"https://www.npr.org/2011/10/10/141078543/breaking-bad-horror-leave-viewers-wanting-more\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breaking Bad\u003c/em>\u003c/a>\u003cem>, \u003c/em>a supporting character named Saul Goodman, a shifty lawyer played by \u003ca href=\"https://www.npr.org/2013/08/06/209222363/bob-odenkirk-brings-some-laughs-to-breaking-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Odenkirk\u003c/a>, reveals his secret plan for survival. He’ll adopt a new identity, and, in the best case, if things work out, manage a Cinnabon in Omaha. And that’s exactly what happened, at the start of an equally wonderful spinoff series, \u003ca href=\"https://www.npr.org/2015/02/04/383785664/better-call-saul-the-prequel-to-breaking-bad-is-as-good-as-the-first\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Call Saul\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took this peripheral character and made him the star of his own show.\u003c/p>\n\u003cp>[aside postid='pop_12821']That’s what Jon Favreau, the creator of \u003cem>The Book of Boba Fett\u003c/em>, is doing with this new Disney+ fantasy series. Favreau directed the first \u003cem>Iron Man \u003c/em>movie, the one that established the modern Marvel superhero universe. He also created \u003ca href=\"https://www.npr.org/2020/10/30/929505050/return-of-the-mandalorian-and-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mandalorian\u003c/em>\u003c/a>\u003cem>, \u003c/em>so he’s already worked that same magic for the \u003ca href=\"https://www.npr.org/tags/126926701/star-wars\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars\u003c/em>\u003c/a> universe as well. And with his new \u003cem>Boba Fett\u003c/em> spinoff, he does it again, impressively.\u003c/p>\n\u003cp>You can get way, way deep into the weeds describing and dissecting this \u003cem>Star Wars \u003c/em>stuff—after all, there’s close to 50 years of onscreen history—but I’ll try not to. All you need to know, really, is that Boba Fett is a bounty hunter who first showed up in \u003cem>The Empire Strikes Back, \u003c/em>and appeared to die in the next film, \u003cem>Return of the Jedi. \u003c/em>Decades later, in a series of\u003cem> Star Wars\u003c/em> movie prequels, Boba Fett’s father was introduced, played by Temuera Morrison.\u003c/p>\n\u003cp>On TV, Morrison now plays the role of the son, Boba Fett—first in \u003cem>The Mandalorian, \u003c/em>and also in this new series. In \u003cem>The Mandalorian\u003c/em>, Boba and his fellow bounty hunter, Fennec, helped rescue Baby Yoda from its evil captors—and reappeared, in a teaser clip at the end of last season, to kill another \u003cem>Star Wars \u003c/em>villain, a descendant of Jabba the Hut. I know, that seems pretty deep into the weeds already, but stay with me. These are the building blocks for \u003cem>The Book of Boba Fett.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rOJ1cw6mohw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premiere episode was the only one shown to critics, but it’s a good one. It’s written by Favreau, and is one of three episodes directed by Robert Rodriguez, who’s really comfortable with action, humor and special effects. \u003cem>The Book of Boba Fett\u003c/em> is loaded with all three. It explains, in flashbacks, how Boba escaped death long ago—and also picks up the current story line, with Boba and Fennec trying to rule the city after killing its ruthless dictator.\u003c/p>\n\u003cp>Boba hopes to establish a more benevolent rule—but his partner Fennec has other ideas. She’s played by Ming-Na Wen, who played one martial-arts expert in the ABC series \u003cem>Marvel’s Agents of S.H.I.E.L.D.\u003c/em>, and portrays an even tougher character here.\u003c/p>\n\u003cp>[aside postid='pop_83529']The biggest name in \u003cem>The Book of Boba Fett,\u003c/em> so far, is guest star Jennifer Beals, who makes a small appearance in the premiere episode. But it’s the story, and the way it’s told, that really propels the series. The first 10 minutes contain no dialogue, which is a bold move, but it works. The characters are well-defined, the action is exciting and the special effects are as good as in any S\u003cem>tar Wars \u003c/em>movie. When Boba Fett squares off against a giant, six-limbed lizard creature, that battle scene is better than anything in any \u003ca href=\"https://www.npr.org/2021/03/29/982277005/godzilla-vs-kong-is-a-flawed-monster-movie-mashup\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Godzilla \u003c/em>\u003c/a>movie, old or new.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The music by \u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" target=\"_blank\" rel=\"noopener noreferrer\">Ludwig Göransson\u003c/a>, who also provides music for \u003cem>The Mandalorian,\u003c/em> is majestically weird—an odd cross between a \u003ca href=\"https://www.npr.org/artists/15003640/john-williams-composer\" target=\"_blank\" rel=\"noopener noreferrer\">John Williams\u003c/a> score and a spaghetti Western. Many of the same writers and directors from \u003cem>The Mandalorian\u003c/em> also are doing double duty for \u003cem>The Book of Boba Fett—\u003c/em>and in my book, that means this latest \u003cem>Star Wars\u003c/em> chapter is in really good hands.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Book+of+Boba+Fett%27+adds+an+impressive+chapter+to+the+%27Star+Wars%27+saga&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of the final episodes of the brilliant AMC drama series \u003ca href=\"https://www.npr.org/2011/10/10/141078543/breaking-bad-horror-leave-viewers-wanting-more\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breaking Bad\u003c/em>\u003c/a>\u003cem>, \u003c/em>a supporting character named Saul Goodman, a shifty lawyer played by \u003ca href=\"https://www.npr.org/2013/08/06/209222363/bob-odenkirk-brings-some-laughs-to-breaking-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Odenkirk\u003c/a>, reveals his secret plan for survival. He’ll adopt a new identity, and, in the best case, if things work out, manage a Cinnabon in Omaha. And that’s exactly what happened, at the start of an equally wonderful spinoff series, \u003ca href=\"https://www.npr.org/2015/02/04/383785664/better-call-saul-the-prequel-to-breaking-bad-is-as-good-as-the-first\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Call Saul\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took this peripheral character and made him the star of his own show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s what Jon Favreau, the creator of \u003cem>The Book of Boba Fett\u003c/em>, is doing with this new Disney+ fantasy series. Favreau directed the first \u003cem>Iron Man \u003c/em>movie, the one that established the modern Marvel superhero universe. He also created \u003ca href=\"https://www.npr.org/2020/10/30/929505050/return-of-the-mandalorian-and-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mandalorian\u003c/em>\u003c/a>\u003cem>, \u003c/em>so he’s already worked that same magic for the \u003ca href=\"https://www.npr.org/tags/126926701/star-wars\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars\u003c/em>\u003c/a> universe as well. And with his new \u003cem>Boba Fett\u003c/em> spinoff, he does it again, impressively.\u003c/p>\n\u003cp>You can get way, way deep into the weeds describing and dissecting this \u003cem>Star Wars \u003c/em>stuff—after all, there’s close to 50 years of onscreen history—but I’ll try not to. All you need to know, really, is that Boba Fett is a bounty hunter who first showed up in \u003cem>The Empire Strikes Back, \u003c/em>and appeared to die in the next film, \u003cem>Return of the Jedi. \u003c/em>Decades later, in a series of\u003cem> Star Wars\u003c/em> movie prequels, Boba Fett’s father was introduced, played by Temuera Morrison.\u003c/p>\n\u003cp>On TV, Morrison now plays the role of the son, Boba Fett—first in \u003cem>The Mandalorian, \u003c/em>and also in this new series. In \u003cem>The Mandalorian\u003c/em>, Boba and his fellow bounty hunter, Fennec, helped rescue Baby Yoda from its evil captors—and reappeared, in a teaser clip at the end of last season, to kill another \u003cem>Star Wars \u003c/em>villain, a descendant of Jabba the Hut. I know, that seems pretty deep into the weeds already, but stay with me. These are the building blocks for \u003cem>The Book of Boba Fett.\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/rOJ1cw6mohw'\n title='//www.youtube.com/embed/rOJ1cw6mohw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The premiere episode was the only one shown to critics, but it’s a good one. It’s written by Favreau, and is one of three episodes directed by Robert Rodriguez, who’s really comfortable with action, humor and special effects. \u003cem>The Book of Boba Fett\u003c/em> is loaded with all three. It explains, in flashbacks, how Boba escaped death long ago—and also picks up the current story line, with Boba and Fennec trying to rule the city after killing its ruthless dictator.\u003c/p>\n\u003cp>Boba hopes to establish a more benevolent rule—but his partner Fennec has other ideas. She’s played by Ming-Na Wen, who played one martial-arts expert in the ABC series \u003cem>Marvel’s Agents of S.H.I.E.L.D.\u003c/em>, and portrays an even tougher character here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest name in \u003cem>The Book of Boba Fett,\u003c/em> so far, is guest star Jennifer Beals, who makes a small appearance in the premiere episode. But it’s the story, and the way it’s told, that really propels the series. The first 10 minutes contain no dialogue, which is a bold move, but it works. The characters are well-defined, the action is exciting and the special effects are as good as in any S\u003cem>tar Wars \u003c/em>movie. When Boba Fett squares off against a giant, six-limbed lizard creature, that battle scene is better than anything in any \u003ca href=\"https://www.npr.org/2021/03/29/982277005/godzilla-vs-kong-is-a-flawed-monster-movie-mashup\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Godzilla \u003c/em>\u003c/a>movie, old or new.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The music by \u003ca href=\"https://www.npr.org/2019/02/23/697124438/how-ludwig-g-ransson-helped-orchestrate-americas-conversation-on-race-in-2018\" target=\"_blank\" rel=\"noopener noreferrer\">Ludwig Göransson\u003c/a>, who also provides music for \u003cem>The Mandalorian,\u003c/em> is majestically weird—an odd cross between a \u003ca href=\"https://www.npr.org/artists/15003640/john-williams-composer\" target=\"_blank\" rel=\"noopener noreferrer\">John Williams\u003c/a> score and a spaghetti Western. Many of the same writers and directors from \u003cem>The Mandalorian\u003c/em> also are doing double duty for \u003cem>The Book of Boba Fett—\u003c/em>and in my book, that means this latest \u003cem>Star Wars\u003c/em> chapter is in really good hands.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Book+of+Boba+Fett%27+adds+an+impressive+chapter+to+the+%27Star+Wars%27+saga&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>[aside postid='arts_13890087']What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Auta2lagtw4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>[aside postid='arts_10742450']The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need Some New Halloween Movies and Books for Your Kids? Do Come In (Mwah-ha-ha)",
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"content": "\u003cp>Kids are under plenty of stress these days, absorbing grownups’ various real-world anxieties, not to mention wearing masks long before picking out their Halloween costumes. If you’re looking for age-appropriate distractions that won’t give them nightmares, we’ve got you covered.\u003c/p>\n\u003cp>[aside postid='pop_105906']Children’s author and illustrator \u003ca href=\"http://www.studiolacera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jorge Lacera\u003c/a> and Common Sense Media’s Senior TV Editor \u003ca href=\"https://www.commonsensemedia.org/users/polly-conway/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Polly Conway\u003c/a> offer a selection of their favorite new books and TV shows, with varying degrees of spookiness. Repeat, \u003cem>new\u003c/em>—not the beloved classics that should be on any list of Halloween kids’ fare. Looking at you, \u003ca href=\"https://www.pbs.org/articles/2021/10/how-to-watch-its-great-pumpkin-charlie-brown-on-pbs/\" target=\"_blank\" rel=\"noopener noreferrer\">Great Pumpkin\u003c/a>.\u003c/p>\n\u003cp>“It’s fun to get a little scared,” says Conway, “but it’s also nice to feel safe and to have your family around and know that nothing bad is really going to happen to you.”\u003c/p>\n\u003cp>For Lacera, what makes the Halloween season special is that “we get to play with feelings and emotions that we don’t normally get to put next to each other.” Emotions like joy, fear, even a bit of sadness fill the stories below.\u003c/p>\n\u003ch3>What to watch, from Polly Conway, senior TV editor for Common Sense Media\u003c/h3>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=sN_m0GeeCTg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Muppets Haunted Mansion\u003c/em>\u003c/strong>\u003c/a>, 2021, 9+, Disney+\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sN_m0GeeCTg\u003c/p>\n\u003cp>“\u003cem>Muppets Haunted Mansion\u003c/em> is a really fun musical special starring a bunch of super cool guest stars. … It’s sort of a return to form for \u003cem>The Muppets\u003c/em>. The Muppets have tried a bunch of different things in the last few years, and not everything has stuck. But I think there’s something about the special that really harkens back to the classic \u003cem>Muppet Show\u003c/em> vibe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/watch/81392347?trackId=13752289\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Tale Dark and Grimm\u003c/em>\u003c/strong>\u003c/a>, 2021, 11+, Netflix\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LIHHfSInWmY\u003c/p>\n\u003cp>Based on the Adam Gidwitz book series of the same name, \u003cem>A Tale Dark and Grimm\u003c/em> is an irreverent, darkly humorous retelling of classic Brothers Grimm stories starring such comedians as Ron Funches, Nicole Byer and Scott Adsit. Conway says, “It’s pretty scary. … Kids who don’t want to watch something for babies will be pleased with this one. … There are tons of great comedians who are doing voices.” Plus, “any time you can hear Ron Funches laugh is a good time.”\u003c/p>\n\u003cp>\u003ca href=\"https://disneynow.com/shows/the-ghost-and-molly-mcgee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The Ghost and Molly McGee\u003c/em>\u003c/strong>\u003c/a>, 7+, Disney Channel\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nlemRanx-cQ\u003c/p>\n\u003cp>Conway calls this new series “something for the younger kids who want to feel a little bit scared, but maybe are not quite ready for the big stuff.” Eternally optimistic Molly is a teenager whose family has finally moved into their forever home. She’s thrilled. Cranky ghost Scratch who lives in the attic, not so much. “It’s really about the relationship between her and this ghost and how they figure out how to live together. It’s really cute … pretty to watch. … It’s not necessarily a Halloween pick, but it has a Halloween vibe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=L2GVrR8233E\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Just Beyond\u003c/em>\u003c/strong>\u003c/a>, 2021, 9+, Disney+\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v0gbP4P4O_0\u003c/p>\n\u003cp>“This is like an \u003cem>X-Files\u003c/em> for kids,” says Conway. Based on graphic novels by R.L. Stine (\u003cem>Goosebumps\u003c/em>), “It tells all kinds of different spooky stories from kind of a science fiction bent.” Despite the eerie trailer, “It’s hilarious and interesting for adults, and kids are really going to enjoy the stories.” Conway promises, “There’s some scariness, but there is not gore.”\u003c/p>\n\u003ch3>What to read, from author/illustrator Jorge Lacera\u003c/h3>\n\u003cp>\u003ca href=\"https://www.amazon.com/House-Madame-M-Clotilde-Perrin/dp/1776572742\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The House of Madame M\u003c/em>\u003c/strong>\u003c/a> by Clotilde Perrin, 5-9\u003c/p>\n\u003cp>\u003cem>The House of Madame M\u003c/em> is “a really fun, unusual book,” says Lacera. “It’s very light on plot because you’re literally interacting with Madame M’s House.” And, yes, it’s haunted. If they dare, readers lift up flaps to find out what’s there. “You’re told that, ‘Oh, please come in and check this place, you know, come in from the cold. But if you’re going to check this place out, be sure not to touch anything.’ And, of course, it’s a popup book with a bunch of interactive flaps.” Lacera says he and his wife and creative partner Megan love this book for “the beauty of the illustrations, but also the cleverness of the popup elements.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/Theres-Ghost-House-Oliver-Jeffers/dp/0593466187/ref=asc_df_0593466187/?tag=hyprod-20&linkCode=df0&hvadid=509032833742&hvpos=&hvnetw=g&hvrand=11898559279841433298&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9061285&hvtargid=pla-1216642372220&psc=1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>There’s a Ghost in This House\u003c/em>\u003c/strong>\u003c/a> by Oliver Jeffers, 4-8\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905315 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/51f3RGwOecL._SX317_BO1204203200_.jpg\" alt=\"\" width=\"319\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/51f3RGwOecL._SX317_BO1204203200_.jpg 319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/51f3RGwOecL._SX317_BO1204203200_-160x250.jpg 160w\" sizes=\"(max-width: 319px) 100vw, 319px\">Another haunted house tour, in \u003cem>There’s a Ghost in This House\u003c/em> “the narrator is convinced that their house is haunted. But only the reader knows the truth because there’s a clever use of clear vellum sheets so that as you turn the page, it reveals that there’s all these ghosts that are actually hanging around all over this little girl’s house,” says Lacera, “how they’re hiding in different nooks and crannies and doing fun and silly things.” There’s more about the book’s creation in \u003ca href=\"https://www.npr.org/2021/10/18/1047101414/oliver-jeffers-new-picture-book-is-a-different-kind-of-ghost-story\" target=\"_blank\" rel=\"noopener noreferrer\">this recent NPR interview\u003c/a> with the author.\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/dp/B094Z6WZQQ/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\">\u003cstrong>\u003cem>Pony\u003c/em>\u003c/strong>\u003c/a> by R.J. Palacio, 10+\u003c/p>\n\u003cp>R.J. Palacio “is a big deal in our house due to \u003cem>Wonder\u003c/em>,” says Lacera. \u003cem>Pony\u003c/em>, which takes place in the 1700s, is an “immediately enthralling tale that includes ghosts and courage. It’s about a boy whose father goes missing and it’s his quest to get his dad back. … He has this relationship with a ghost who is very much present in the story and sort of has this cool, spooky edge to it. But it’s also this wonderful story of courage. … It’s got that feeling of a modern classic.”\u003c/p>\n\u003ch3>A little ghoulish night music, anyone?\u003c/h3>\n\u003cp>[aside postid='pop_18538']If you need to get up and move around after all of that reading and watching, Elizabeth Blair recommends the new vinyl release of Andrew Gold’s 1996 album \u003ca href=\"https://craftrecordings.com/blogs/news/andrew-gold-halloween-howls-makes-its-vinyl-debut\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Halloween Howls: Fun and Scary Music.\u003c/em>\u003c/strong>\u003c/a> Like a zombie that just won’t die, the track “Spooky Scary Skeletons” has risen from the dead multiple times: A YouTuber \u003ca href=\"https://www.youtube.com/watch?v=-1dSY6ZuXEY\" target=\"_blank\" rel=\"noopener noreferrer\">paired\u003c/a> Gold’s original version with a 1929 Disney cartoon, and the Undead Tombstone Remix spawned a gazillion \u003ca href=\"https://www.tiktok.com/search?q=Spooky%20Scary%20Skeletons&t=1635187213397\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a> videos including one by \u003ca href=\"https://www.tiktok.com/@willsmith/video/6753669548739677446\" target=\"_blank\" rel=\"noopener noreferrer\">Will Smith\u003c/a>. The new vinyl reissue includes artwork by \u003ca href=\"https://www.jessrotter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jess Rotter\u003c/a>. She tells NPR,\u003cem> “\u003c/em>The world needs to feel silly and get lost in the fun of Halloween. This was the perfect record to boogie with as the soundtrack. I had that in mind creating the artwork: feeling free and getting lost in a holiday where you can briefly escape yourself and the everyday.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qbwt0ks5Cvc&t=32s\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=Need+some+new+Halloween+movies+and+books+for+your+kids%3F+Do+come+in+%28mwah-ha-ha%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids are under plenty of stress these days, absorbing grownups’ various real-world anxieties, not to mention wearing masks long before picking out their Halloween costumes. If you’re looking for age-appropriate distractions that won’t give them nightmares, we’ve got you covered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Children’s author and illustrator \u003ca href=\"http://www.studiolacera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jorge Lacera\u003c/a> and Common Sense Media’s Senior TV Editor \u003ca href=\"https://www.commonsensemedia.org/users/polly-conway/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Polly Conway\u003c/a> offer a selection of their favorite new books and TV shows, with varying degrees of spookiness. Repeat, \u003cem>new\u003c/em>—not the beloved classics that should be on any list of Halloween kids’ fare. Looking at you, \u003ca href=\"https://www.pbs.org/articles/2021/10/how-to-watch-its-great-pumpkin-charlie-brown-on-pbs/\" target=\"_blank\" rel=\"noopener noreferrer\">Great Pumpkin\u003c/a>.\u003c/p>\n\u003cp>“It’s fun to get a little scared,” says Conway, “but it’s also nice to feel safe and to have your family around and know that nothing bad is really going to happen to you.”\u003c/p>\n\u003cp>For Lacera, what makes the Halloween season special is that “we get to play with feelings and emotions that we don’t normally get to put next to each other.” Emotions like joy, fear, even a bit of sadness fill the stories below.\u003c/p>\n\u003ch3>What to watch, from Polly Conway, senior TV editor for Common Sense Media\u003c/h3>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=sN_m0GeeCTg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Muppets Haunted Mansion\u003c/em>\u003c/strong>\u003c/a>, 2021, 9+, Disney+\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/sN_m0GeeCTg'\n title='//www.youtube.com/embed/sN_m0GeeCTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003cem>Muppets Haunted Mansion\u003c/em> is a really fun musical special starring a bunch of super cool guest stars. … It’s sort of a return to form for \u003cem>The Muppets\u003c/em>. The Muppets have tried a bunch of different things in the last few years, and not everything has stuck. But I think there’s something about the special that really harkens back to the classic \u003cem>Muppet Show\u003c/em> vibe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/watch/81392347?trackId=13752289\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Tale Dark and Grimm\u003c/em>\u003c/strong>\u003c/a>, 2021, 11+, Netflix\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/LIHHfSInWmY'\n title='//www.youtube.com/embed/LIHHfSInWmY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on the Adam Gidwitz book series of the same name, \u003cem>A Tale Dark and Grimm\u003c/em> is an irreverent, darkly humorous retelling of classic Brothers Grimm stories starring such comedians as Ron Funches, Nicole Byer and Scott Adsit. Conway says, “It’s pretty scary. … Kids who don’t want to watch something for babies will be pleased with this one. … There are tons of great comedians who are doing voices.” Plus, “any time you can hear Ron Funches laugh is a good time.”\u003c/p>\n\u003cp>\u003ca href=\"https://disneynow.com/shows/the-ghost-and-molly-mcgee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The Ghost and Molly McGee\u003c/em>\u003c/strong>\u003c/a>, 7+, Disney Channel\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/nlemRanx-cQ'\n title='//www.youtube.com/embed/nlemRanx-cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conway calls this new series “something for the younger kids who want to feel a little bit scared, but maybe are not quite ready for the big stuff.” Eternally optimistic Molly is a teenager whose family has finally moved into their forever home. She’s thrilled. Cranky ghost Scratch who lives in the attic, not so much. “It’s really about the relationship between her and this ghost and how they figure out how to live together. It’s really cute … pretty to watch. … It’s not necessarily a Halloween pick, but it has a Halloween vibe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=L2GVrR8233E\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Just Beyond\u003c/em>\u003c/strong>\u003c/a>, 2021, 9+, Disney+\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/v0gbP4P4O_0'\n title='//www.youtube.com/embed/v0gbP4P4O_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is like an \u003cem>X-Files\u003c/em> for kids,” says Conway. Based on graphic novels by R.L. Stine (\u003cem>Goosebumps\u003c/em>), “It tells all kinds of different spooky stories from kind of a science fiction bent.” Despite the eerie trailer, “It’s hilarious and interesting for adults, and kids are really going to enjoy the stories.” Conway promises, “There’s some scariness, but there is not gore.”\u003c/p>\n\u003ch3>What to read, from author/illustrator Jorge Lacera\u003c/h3>\n\u003cp>\u003ca href=\"https://www.amazon.com/House-Madame-M-Clotilde-Perrin/dp/1776572742\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The House of Madame M\u003c/em>\u003c/strong>\u003c/a> by Clotilde Perrin, 5-9\u003c/p>\n\u003cp>\u003cem>The House of Madame M\u003c/em> is “a really fun, unusual book,” says Lacera. “It’s very light on plot because you’re literally interacting with Madame M’s House.” And, yes, it’s haunted. If they dare, readers lift up flaps to find out what’s there. “You’re told that, ‘Oh, please come in and check this place, you know, come in from the cold. But if you’re going to check this place out, be sure not to touch anything.’ And, of course, it’s a popup book with a bunch of interactive flaps.” Lacera says he and his wife and creative partner Megan love this book for “the beauty of the illustrations, but also the cleverness of the popup elements.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/Theres-Ghost-House-Oliver-Jeffers/dp/0593466187/ref=asc_df_0593466187/?tag=hyprod-20&linkCode=df0&hvadid=509032833742&hvpos=&hvnetw=g&hvrand=11898559279841433298&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9061285&hvtargid=pla-1216642372220&psc=1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>There’s a Ghost in This House\u003c/em>\u003c/strong>\u003c/a> by Oliver Jeffers, 4-8\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905315 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/51f3RGwOecL._SX317_BO1204203200_.jpg\" alt=\"\" width=\"319\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/51f3RGwOecL._SX317_BO1204203200_.jpg 319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/51f3RGwOecL._SX317_BO1204203200_-160x250.jpg 160w\" sizes=\"(max-width: 319px) 100vw, 319px\">Another haunted house tour, in \u003cem>There’s a Ghost in This House\u003c/em> “the narrator is convinced that their house is haunted. But only the reader knows the truth because there’s a clever use of clear vellum sheets so that as you turn the page, it reveals that there’s all these ghosts that are actually hanging around all over this little girl’s house,” says Lacera, “how they’re hiding in different nooks and crannies and doing fun and silly things.” There’s more about the book’s creation in \u003ca href=\"https://www.npr.org/2021/10/18/1047101414/oliver-jeffers-new-picture-book-is-a-different-kind-of-ghost-story\" target=\"_blank\" rel=\"noopener noreferrer\">this recent NPR interview\u003c/a> with the author.\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/dp/B094Z6WZQQ/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\">\u003cstrong>\u003cem>Pony\u003c/em>\u003c/strong>\u003c/a> by R.J. Palacio, 10+\u003c/p>\n\u003cp>R.J. Palacio “is a big deal in our house due to \u003cem>Wonder\u003c/em>,” says Lacera. \u003cem>Pony\u003c/em>, which takes place in the 1700s, is an “immediately enthralling tale that includes ghosts and courage. It’s about a boy whose father goes missing and it’s his quest to get his dad back. … He has this relationship with a ghost who is very much present in the story and sort of has this cool, spooky edge to it. But it’s also this wonderful story of courage. … It’s got that feeling of a modern classic.”\u003c/p>\n\u003ch3>A little ghoulish night music, anyone?\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you need to get up and move around after all of that reading and watching, Elizabeth Blair recommends the new vinyl release of Andrew Gold’s 1996 album \u003ca href=\"https://craftrecordings.com/blogs/news/andrew-gold-halloween-howls-makes-its-vinyl-debut\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Halloween Howls: Fun and Scary Music.\u003c/em>\u003c/strong>\u003c/a> Like a zombie that just won’t die, the track “Spooky Scary Skeletons” has risen from the dead multiple times: A YouTuber \u003ca href=\"https://www.youtube.com/watch?v=-1dSY6ZuXEY\" target=\"_blank\" rel=\"noopener noreferrer\">paired\u003c/a> Gold’s original version with a 1929 Disney cartoon, and the Undead Tombstone Remix spawned a gazillion \u003ca href=\"https://www.tiktok.com/search?q=Spooky%20Scary%20Skeletons&t=1635187213397\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a> videos including one by \u003ca href=\"https://www.tiktok.com/@willsmith/video/6753669548739677446\" target=\"_blank\" rel=\"noopener noreferrer\">Will Smith\u003c/a>. The new vinyl reissue includes artwork by \u003ca href=\"https://www.jessrotter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jess Rotter\u003c/a>. She tells NPR,\u003cem> “\u003c/em>The world needs to feel silly and get lost in the fun of Halloween. This was the perfect record to boogie with as the soundtrack. I had that in mind creating the artwork: feeling free and getting lost in a holiday where you can briefly escape yourself and the everyday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ask anyone in your life to draw you a quick doodle of a ghost, and they’ll more than likely present you with some variation of the bedsheet ghost. Round on top, wiggly on the bottom, with a couple of eyeballs/eye holes. If they’re feeling extra cute, there may be a mouth too. (Or even a tongue if the ghost emoji has served as a recent inspiration.)\u003c/p>\n\u003cp>[aside postid='arts_13892672']This specific image of ghosts-as-white-sheets has been engrained in our culture for centuries and, until fairly recently, it was considered genuinely terrifying. The root of it lies in the fact that, up until the 19th century, the dead were almost always wrapped in burial shrouds, rather than placed in coffins. In poorer families, the recently deceased were simply wrapped up in the sheet from their death bed, and secured inside by a knot tied at either end.\u003c/p>\n\u003cp>In the 1300s, ghosts were often presented as skeletons draped in their shrouds, as this depiction from \u003cem>The Psalter of Robert de Lisle\u003c/em> (created some time between 1308 and 1340) demonstrates. In the story of “The Three Living and the Three Dead,” three spirits/corpses warn three noblemen to live virtuous lives or be damned. (The maggots are a nice touch, don’t you think?)\u003c/p>\n\u003cfigure id=\"attachment_13904930\" class=\"wp-caption alignnone\" style=\"max-width: 592px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-7.09.42-PM.png\" alt=\"\" width=\"592\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-7.09.42-PM.png 592w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-7.09.42-PM-160x198.png 160w\" sizes=\"auto, (max-width: 592px) 100vw, 592px\">\u003cfigcaption class=\"wp-caption-text\">Depiction of the ghosts from ‘The Three Living and the Three Dead.’ \u003ccite>('The Psalter of Robert de Lisle' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1400s, people reporting supernatural phenomena almost always \u003ca href=\"https://talesoftimesforgotten.com/2019/10/27/why-are-ghosts-depicted-wearing-bedsheets/\" target=\"_blank\" rel=\"noopener noreferrer\">described apparitions as being clad in their death shrouds\u003c/a>. This depiction was, by then, so widely accepted that, an entire subset of English thieves began donning white sheets and pretending to be ghosts. These undead disguises had the dual benefit of hiding the thieves’ true appearances, while also scaring their targets into handing over money. Even after multiple ghost impersonators were exposed by the authorities over many years, the public continued to believe that unhappy spirits roamed the Earth clad in their burial shrouds.\u003c/p>\n\u003cp>In 1804 London, a bricklayer named Thomas Millwood was mistaken for a malevolent ghost, and shot and killed by a man named Francis Smith. Smith had seen Millwood’s pristine white work uniform, complete with white apron, and assumed he was a ghost. (Local residents and a night watchman had recently reported being terrorized by some such spirit.) At \u003ca href=\"https://en.wikipedia.org/wiki/Hammersmith_Ghost_murder_case\" target=\"_blank\" rel=\"noopener noreferrer\">Smith’s subsequent murder trial\u003c/a>, Millwood’s wife said her husband had been mistaken as a ghost by three other people before the shooting, and that she had asked him to start wearing an overcoat, to no avail. Smith was found guilty of murder and sentenced to one year of hard labor. The “ghost” haunting the neighborhood was later exposed as a local man exercising some personal revenge.\u003c/p>\n\u003cfigure id=\"attachment_13904925\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-5.54.15-PM.png\" alt=\"\" width=\"730\" height=\"1154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-5.54.15-PM.png 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-5.54.15-PM-160x253.png 160w\" sizes=\"auto, (max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">An illustration by Andreas Bloch (1860-1917) of ‘Gudrun and the Ghost’—characters from ‘The Laxdale (Laxdæla) Saga.’ In the Icelandic story, a woman is visited in a church courtyard by the ghost of her husband who has just died at sea that day. He is depicted as being wrapped in a white sheet despite the fact that the character was not buried in one.\u003c/figcaption>\u003c/figure>\n\u003cp>Millwood’s tragic death by no means shifted the general public’s ideas about be-sheeted ghosts (or shooting at them). In 1889, one Missouri newspaper conducted a poll of its readers, asking if they believed in spirits. A reader, J.W. Wills, wrote in to say that he had seen two ghosts in his life. One of them, he claimed, was a large white object with long horns that he would have shot if he’d had his pistol with him. Another reader, Professor B. F. Heaton wrote in to say that ghosts “are nearly always white, although some of the authorities admit there are dark ones. I should say, however, that the genuine ghost is always white and always makes its first appearance at the haunted spot at precisely 12 o’clock midnight.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These ideas were compounded by theatrical presentations of spirits and hauntings throughout the 19th and into the early 20th century. On-stage ghosts varied enormously, from simple depictions of actors in white face paint or armor, to tricks involving mirrors and trapdoors. Theater scholars argued that \u003ca href=\"https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=2096&context=gc_etds\" target=\"_blank\" rel=\"noopener noreferrer\">unadorned actors playing ghosts\u003c/a> were able to elicit greater sympathy from audiences. It followed that ghosts in white sheets were scarier. And that imagery carried into the depictions of ghosts in Victorian spirit photography—a trend that didn’t disappear entirely until the 1930s.\u003c/p>\n\u003cfigure id=\"attachment_13904971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904971\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-800x691.png\" alt=\"\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-800x691.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-768x663.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM.png 996w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A spirit photograph made by ‘Melander & Bro’, 1889.\u003c/figcaption>\u003c/figure>\n\u003cp>If bedsheet ghosts had become something of a casual amusement by the end of spirit photography’s heyday, it was children’s cartoons that took that element of fun and ran away with it. In 1937, Disney released \u003cem>The Lonesome Ghosts\u003c/em>, an eight-minute cartoon in which Mickey Mouse, Donald Duck and Goofy are a ghost extermination team assigned to clear a house of spirits. The cartoon ghosts were transparent, with hats and expressive faces. But their loose outfits, including capes, were clearly fashioned out of sheets. It was a creative element that added a cute twist to the ghosts of old. When \u003ca href=\"https://www.decades.com/lists/7-friendly-facts-about-casper-the-ghost#:~:text=Casper%20dates%20back%20to%201939&text=His%20first%20appearance%20as%20a,copyright%20a%20few%20years%20later.\" target=\"_blank\" rel=\"noopener noreferrer\">Casper the Friendly Ghost\u003c/a> arrived in 1939, it was the first major indicator that culturally, ghosts had become figures of fun.\u003c/p>\n\u003cp>In 1957, \u003ca href=\"https://www.youtube.com/watch?v=xQ9ZbskorrQ\" target=\"_blank\" rel=\"noopener noreferrer\">one \u003cem>Popeye\u003c/em> cartoon\u003c/a> depicted the sailor eating his spinach to annihilate a bunch of ghosts on a haunted ship. The episode ended with Olive Oyl sewing the ghosts’ shrouds together to make a giant sail. By 1969, Scooby Doo and the gang had begun exposing ghosts and ghouls as human frauds. And, of course, the opening credits of that show featured a bedsheet ghost.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hTq6nwO4oJU\u003c/p>\n\u003cp>Scooby Doo’s tone fit the times: there was an overwhelming sense that bedsheet ghosts, along with other superstitions, should be relegated to the realms of old-fashioned tomfoolery. On Nov. 8, 1964, North Carolina’s \u003cem>News and Observer\u003c/em> declared: “Styles in ghosting are changing. Dwindling into obscurity are the old fashioned groaning, flapping, bedsheet ghosts and the simple white objects which jump out of dark places and say ‘Boo!’ These are fading along with simple haunted houses, graveyard ghosts and headless horsemen.”\u003c/p>\n\u003cp>If the bedsheet ghost had one last moment of chilling repugnance, it was in \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0063381/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">Whistle and I’ll Come to You\u003c/a>\u003c/em>, a 1968 horror produced by the BBC. In it, a seemingly \u003ca href=\"https://www.youtube.com/watch?v=lTkvzOuYvTM\" target=\"_blank\" rel=\"noopener noreferrer\">sentient sheet\u003c/a> was presented in several scenes in a manner that was \u003ca href=\"https://www.youtube.com/watch?v=XXgDRvFUenU\" target=\"_blank\" rel=\"noopener noreferrer\">truly unsettling\u003c/a>. The closest we’ve come to that since was in 2013’s \u003cem>The Conjuring\u003c/em> which managed to deliver a genuine scare via a single sheet hitting an anonymous, invisible body.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-v-WwcPCIdg\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These days, bedsheet ghosts are more likely to be found cutely adorning \u003ca href=\"https://www.etsy.com/search?q=ghosts\" target=\"_blank\" rel=\"noopener noreferrer\">clothes, decorations and candles on Etsy\u003c/a>, than they are giving anyone an actual fright. But, at this time of year, it’s worth remembering who the bedsheet ghosts once were and who they represented. After all, you never know when the scary ones might come back.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This specific image of ghosts-as-white-sheets has been engrained in our culture for centuries and, until fairly recently, it was considered genuinely terrifying. The root of it lies in the fact that, up until the 19th century, the dead were almost always wrapped in burial shrouds, rather than placed in coffins. In poorer families, the recently deceased were simply wrapped up in the sheet from their death bed, and secured inside by a knot tied at either end.\u003c/p>\n\u003cp>In the 1300s, ghosts were often presented as skeletons draped in their shrouds, as this depiction from \u003cem>The Psalter of Robert de Lisle\u003c/em> (created some time between 1308 and 1340) demonstrates. In the story of “The Three Living and the Three Dead,” three spirits/corpses warn three noblemen to live virtuous lives or be damned. (The maggots are a nice touch, don’t you think?)\u003c/p>\n\u003cfigure id=\"attachment_13904930\" class=\"wp-caption alignnone\" style=\"max-width: 592px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-7.09.42-PM.png\" alt=\"\" width=\"592\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-7.09.42-PM.png 592w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-7.09.42-PM-160x198.png 160w\" sizes=\"auto, (max-width: 592px) 100vw, 592px\">\u003cfigcaption class=\"wp-caption-text\">Depiction of the ghosts from ‘The Three Living and the Three Dead.’ \u003ccite>('The Psalter of Robert de Lisle' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the 1400s, people reporting supernatural phenomena almost always \u003ca href=\"https://talesoftimesforgotten.com/2019/10/27/why-are-ghosts-depicted-wearing-bedsheets/\" target=\"_blank\" rel=\"noopener noreferrer\">described apparitions as being clad in their death shrouds\u003c/a>. This depiction was, by then, so widely accepted that, an entire subset of English thieves began donning white sheets and pretending to be ghosts. These undead disguises had the dual benefit of hiding the thieves’ true appearances, while also scaring their targets into handing over money. Even after multiple ghost impersonators were exposed by the authorities over many years, the public continued to believe that unhappy spirits roamed the Earth clad in their burial shrouds.\u003c/p>\n\u003cp>In 1804 London, a bricklayer named Thomas Millwood was mistaken for a malevolent ghost, and shot and killed by a man named Francis Smith. Smith had seen Millwood’s pristine white work uniform, complete with white apron, and assumed he was a ghost. (Local residents and a night watchman had recently reported being terrorized by some such spirit.) At \u003ca href=\"https://en.wikipedia.org/wiki/Hammersmith_Ghost_murder_case\" target=\"_blank\" rel=\"noopener noreferrer\">Smith’s subsequent murder trial\u003c/a>, Millwood’s wife said her husband had been mistaken as a ghost by three other people before the shooting, and that she had asked him to start wearing an overcoat, to no avail. Smith was found guilty of murder and sentenced to one year of hard labor. The “ghost” haunting the neighborhood was later exposed as a local man exercising some personal revenge.\u003c/p>\n\u003cfigure id=\"attachment_13904925\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-5.54.15-PM.png\" alt=\"\" width=\"730\" height=\"1154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-5.54.15-PM.png 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-20-at-5.54.15-PM-160x253.png 160w\" sizes=\"auto, (max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">An illustration by Andreas Bloch (1860-1917) of ‘Gudrun and the Ghost’—characters from ‘The Laxdale (Laxdæla) Saga.’ In the Icelandic story, a woman is visited in a church courtyard by the ghost of her husband who has just died at sea that day. He is depicted as being wrapped in a white sheet despite the fact that the character was not buried in one.\u003c/figcaption>\u003c/figure>\n\u003cp>Millwood’s tragic death by no means shifted the general public’s ideas about be-sheeted ghosts (or shooting at them). In 1889, one Missouri newspaper conducted a poll of its readers, asking if they believed in spirits. A reader, J.W. Wills, wrote in to say that he had seen two ghosts in his life. One of them, he claimed, was a large white object with long horns that he would have shot if he’d had his pistol with him. Another reader, Professor B. F. Heaton wrote in to say that ghosts “are nearly always white, although some of the authorities admit there are dark ones. I should say, however, that the genuine ghost is always white and always makes its first appearance at the haunted spot at precisely 12 o’clock midnight.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These ideas were compounded by theatrical presentations of spirits and hauntings throughout the 19th and into the early 20th century. On-stage ghosts varied enormously, from simple depictions of actors in white face paint or armor, to tricks involving mirrors and trapdoors. Theater scholars argued that \u003ca href=\"https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=2096&context=gc_etds\" target=\"_blank\" rel=\"noopener noreferrer\">unadorned actors playing ghosts\u003c/a> were able to elicit greater sympathy from audiences. It followed that ghosts in white sheets were scarier. And that imagery carried into the depictions of ghosts in Victorian spirit photography—a trend that didn’t disappear entirely until the 1930s.\u003c/p>\n\u003cfigure id=\"attachment_13904971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904971\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-800x691.png\" alt=\"\" width=\"800\" height=\"691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-800x691.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM-768x663.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.43.59-AM.png 996w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A spirit photograph made by ‘Melander & Bro’, 1889.\u003c/figcaption>\u003c/figure>\n\u003cp>If bedsheet ghosts had become something of a casual amusement by the end of spirit photography’s heyday, it was children’s cartoons that took that element of fun and ran away with it. In 1937, Disney released \u003cem>The Lonesome Ghosts\u003c/em>, an eight-minute cartoon in which Mickey Mouse, Donald Duck and Goofy are a ghost extermination team assigned to clear a house of spirits. The cartoon ghosts were transparent, with hats and expressive faces. But their loose outfits, including capes, were clearly fashioned out of sheets. It was a creative element that added a cute twist to the ghosts of old. When \u003ca href=\"https://www.decades.com/lists/7-friendly-facts-about-casper-the-ghost#:~:text=Casper%20dates%20back%20to%201939&text=His%20first%20appearance%20as%20a,copyright%20a%20few%20years%20later.\" target=\"_blank\" rel=\"noopener noreferrer\">Casper the Friendly Ghost\u003c/a> arrived in 1939, it was the first major indicator that culturally, ghosts had become figures of fun.\u003c/p>\n\u003cp>In 1957, \u003ca href=\"https://www.youtube.com/watch?v=xQ9ZbskorrQ\" target=\"_blank\" rel=\"noopener noreferrer\">one \u003cem>Popeye\u003c/em> cartoon\u003c/a> depicted the sailor eating his spinach to annihilate a bunch of ghosts on a haunted ship. The episode ended with Olive Oyl sewing the ghosts’ shrouds together to make a giant sail. By 1969, Scooby Doo and the gang had begun exposing ghosts and ghouls as human frauds. And, of course, the opening credits of that show featured a bedsheet ghost.\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/hTq6nwO4oJU'\n title='//www.youtube.com/embed/hTq6nwO4oJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Scooby Doo’s tone fit the times: there was an overwhelming sense that bedsheet ghosts, along with other superstitions, should be relegated to the realms of old-fashioned tomfoolery. On Nov. 8, 1964, North Carolina’s \u003cem>News and Observer\u003c/em> declared: “Styles in ghosting are changing. Dwindling into obscurity are the old fashioned groaning, flapping, bedsheet ghosts and the simple white objects which jump out of dark places and say ‘Boo!’ These are fading along with simple haunted houses, graveyard ghosts and headless horsemen.”\u003c/p>\n\u003cp>If the bedsheet ghost had one last moment of chilling repugnance, it was in \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0063381/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">Whistle and I’ll Come to You\u003c/a>\u003c/em>, a 1968 horror produced by the BBC. In it, a seemingly \u003ca href=\"https://www.youtube.com/watch?v=lTkvzOuYvTM\" target=\"_blank\" rel=\"noopener noreferrer\">sentient sheet\u003c/a> was presented in several scenes in a manner that was \u003ca href=\"https://www.youtube.com/watch?v=XXgDRvFUenU\" target=\"_blank\" rel=\"noopener noreferrer\">truly unsettling\u003c/a>. The closest we’ve come to that since was in 2013’s \u003cem>The Conjuring\u003c/em> which managed to deliver a genuine scare via a single sheet hitting an anonymous, invisible body.\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/-v-WwcPCIdg'\n title='//www.youtube.com/embed/-v-WwcPCIdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, bedsheet ghosts are more likely to be found cutely adorning \u003ca href=\"https://www.etsy.com/search?q=ghosts\" target=\"_blank\" rel=\"noopener noreferrer\">clothes, decorations and candles on Etsy\u003c/a>, than they are giving anyone an actual fright. But, at this time of year, it’s worth remembering who the bedsheet ghosts once were and who they represented. After all, you never know when the scary ones might come back.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Disney+ Anime Anthology 'Star Wars: Visions' Expands the Galaxy Far, Far Away",
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"content": "\u003cp>Let’s get this out of the way: It’s uneven.\u003c/p>\n\u003cp>There.\u003c/p>\n\u003cp>Any anthology series has episodes that work better than others. \u003cem>Star Wars: Visions\u003c/em> is an anthology series; some of its episodes work better than others.\u003c/p>\n\u003cp>Which episodes work better for you will depend entirely on what you come to the \u003cem>Star Wars\u003c/em> franchise for.\u003c/p>\n\u003cp>Is it the epic space battles? You won’t find those here. These episodes tend to tell smaller stories set on various planets—including a few that will be all-too-familiar to fans of the franchise—so if you’re a devotee of space-dogfights in space-trenches, look elsewhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, if you’re a fan of \u003cem>Star Wars\u003c/em>‘ penchant for charming rogues and daring rescues and narrow escapes—the swashbuckling derring-do that has its genesis in George Lucas’ avowed love for movie serials—keep walking.\u003c/p>\n\u003cp>[aside postid='pop_50308']But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtAsl-0o3O0\u003c/p>\n\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>[aside postid='pop_103268']… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='pop_83529']If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\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=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\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/jtAsl-0o3O0'\n title='//www.youtube.com/embed/jtAsl-0o3O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\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=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2862340996\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Have you ever wanted nail art that highlights your favorite Disney Movie? Maybe nails that show Mulan below a cherry tree, or Alice at her Wonderland tea party, or maybe you want to see Stitch getting into shenanigans across your hands… Whatever your preference, \u003ca href=\"https://www.instagram.com/vivxue/\">Vivian Xue Rahey\u003c/a> has you covered.\u003c/p>\n\u003cp>These conversation pieces are clear fan favorites online. Vivian’s \u003ca href=\"https://pampernailgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pamper Nail Gallery\u003c/a> has hundreds of thousands of followers on \u003ca href=\"https://www.instagram.com/pampernailgallery/\">Instagram\u003c/a> and\u003ca href=\"https://www.tiktok.com/@vivxue?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\"> TikTok\u003c/a>, and millions more views.\u003c/p>\n\u003cp>And they do more than just Disney; they paint everything from popular anime shows to pop singers. It’s a unique art form. And their business is growing.\u003c/p>\n\u003cp>Since the start of the pandemic, Vivian, has switched up her “Disneyland of Nails” business model: moving from appointments in the salon where nails are painted on site, to an e-commerce model where you can order press-on sets that ship to your doorstep already bedazzled and painted with scenes from your favorite flick.\u003c/p>\n\u003cfigure id=\"attachment_13902767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-09-at-9.13.17-AM-800x993.png\" alt=\"Press-on nail art inspired by the Pixar movie, Cars.\" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-09-at-9.13.17-AM-800x993.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-09-at-9.13.17-AM-1020x1266.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-09-at-9.13.17-AM-160x199.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-09-at-9.13.17-AM-768x953.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-09-at-9.13.17-AM.png 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Press-on nail art inspired by the Pixar movie, Cars. \u003ccite>(Vivian Xue Rahey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the switch to press-ons, Vivian says, “now we can do it at a larger scale, faster!”\u003c/p>\n\u003cp>Vivian, who had been concerned about her ability to retain employees through pandemic, says she’s started to hire more artists from across the country.\u003c/p>\n\u003cp>Despite changes to the model, the company is staying true to the vision she first described to me in the spring of 2019. Today, we’re revisiting that conversation with the CEO of Pamper Nail Gallery, and hearing how this art-based business not only stayed afloat, but expanded in the midst of a global pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13902769\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_7434-800x1067.jpeg\" alt=\"Press-on nails inspired by the cartoon film, Coraline.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_7434-scaled.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Press-on nails inspired by the cartoon film, Coraline. \u003ccite>(Vivian Xue Rahey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2862340996\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Have you ever wanted nail art that highlights your favorite Disney Movie? Maybe nails that show Mulan below a cherry tree, or Alice at her Wonderland tea party, or maybe you want to see Stitch getting into shenanigans across your hands… Whatever your preference, \u003ca href=\"https://www.instagram.com/vivxue/\">Vivian Xue Rahey\u003c/a> has you covered.\u003c/p>\n\u003cp>These conversation pieces are clear fan favorites online. 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Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hollywood’s newest superhero is saving the day on-screen—and off.\u003c/p>\n\u003cp>The Marvel epic \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em> rang up an estimated $71.4 million at U.S. theaters between Friday and Sunday, according to tracking website \u003ca href=\"https://www.boxofficemojo.com/release/rl3490022913/?ref_=bo_hm_RECENT_WEEKEND_WIDGET_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Box Office Mojo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Disney, the film’s distributor, was expecting \u003cem>Shang-Chi \u003c/em>to sell another $12.1 million in tickets on Monday. But the film has already more than doubled the previous $30.6 million record for the full Labor Day weekend, including Monday, set by the horror flick \u003cem>Halloween \u003c/em>in 2007.\u003c/p>\n\u003cp>[aside postid='arts_13902470']Labor Day weekend is usually slow for movie theaters, industry analysts say, with most blockbusters released earlier in the summer—and attention shifting to the new school year and the start of college football season. The pandemic has made it even \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">tougher\u003c/a> to sell movie tickets, especially with the rise of the delta variant keeping some viewers home and forcing several movie openings to be delayed.\u003c/p>\n\u003cp>The weekend haul gives \u003cem>Shang-Chi\u003c/em> the second-highest box office opening for any film released during the pandemic, behind another Marvel Cinematic Universe installment, \u003cem>Black Widow\u003c/em>, which topped $80 million on its opening weekend in July.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Shang-Chi\u003c/em>‘s theatrical success is “the ultimate confidence-builder” for the industry, Paul Dergarabedian, a senior analyst at Comscore, \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-arts-and-entertainment-coronavirus-pandemic-labor-day-90a82b539712840e7874e405fe51d206\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Associated Press\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The film is Marvel’s first epic to star an \u003ca href=\"https://www.npr.org/2021/09/01/1032875594/shang-chi-review-marvels-1st-asian-superhero\" target=\"_blank\" rel=\"noopener noreferrer\">Asian hero\u003c/a>. It tells the story of the eponymous kung fu master who’s hiding from his warlord father by living undercover as a normal guy named Shaun in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unlike \u003cem>Black Widow\u003c/em>, which was released simultaneously in theaters and on the Disney+ streaming service, \u003cem>Shang-Chi \u003c/em>can only be watched on the big screen until October, when it’s expected to make its Disney+ debut.\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=Marvel%27s+%27Shang-Chi%27+Smashes+Labor+Day+Box+Office+Records+With+%2471.4+Million+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Shang-Chi\u003c/em>‘s theatrical success is “the ultimate confidence-builder” for the industry, Paul Dergarabedian, a senior analyst at Comscore, \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-arts-and-entertainment-coronavirus-pandemic-labor-day-90a82b539712840e7874e405fe51d206\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Associated Press\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The film is Marvel’s first epic to star an \u003ca href=\"https://www.npr.org/2021/09/01/1032875594/shang-chi-review-marvels-1st-asian-superhero\" target=\"_blank\" rel=\"noopener noreferrer\">Asian hero\u003c/a>. It tells the story of the eponymous kung fu master who’s hiding from his warlord father by living undercover as a normal guy named Shaun in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Unlike \u003cem>Black Widow\u003c/em>, which was released simultaneously in theaters and on the Disney+ streaming service, \u003cem>Shang-Chi \u003c/em>can only be watched on the big screen until October, when it’s expected to make its Disney+ debut.\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=Marvel%27s+%27Shang-Chi%27+Smashes+Labor+Day+Box+Office+Records+With+%2471.4+Million+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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