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"content": "\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>[aside postid='arts_13896604']Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9D0uUKJ5KI\u003c/p>\n\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>[aside postid='arts_13891309']It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gmRKv7n2If8\u003c/p>\n\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13896604']Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13892167']\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\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/gmRKv7n2If8'\n title='//www.youtube.com/embed/gmRKv7n2If8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disney+ has named Oakland native and screenwriter, poet, and playwright Chinaka Hodge as the head writer for its new \u003cem>Ironheart\u003c/em> series. Hodge was selected after pitching her vision for all six episodes of the show to Marvel. The writer’s room will open in May. \u003c/p>\n\u003cp>Born and raised in Oakland, Hodge graduated from New York University’s Gallatin School of Individualized Study in May of 2006. She has written multiple plays, including \u003cem>Mirrors in Every Corner\u003c/em> and \u003cem>Chasing Mehserle\u003c/em>, as well as two books, \u003cem>For Girls With Hips: Collected Poems and Writings\u003c/em> and \u003cem>Dated Emcees\u003c/em>. Her past writing credits include the TNT series adaptation of \u003cem>Snowpiercer\u003c/em> starring her friend, longtime collaborator, and fellow Oakland native Daveed Diggs, as well as the Apple reboot of \u003cem>Amazing Stories\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13798311']Hodge previously partnered with Shang-Chi and \u003cem>Legend of the Ten Rings\u003c/em> director Destin Daniel Cretton and \u003cem>Black Panther\u003c/em> director Ryan Coogler to develop the television drama series \u003cem>Minors\u003c/em>, which draws on Coogler and Hodge’s experiences growing up in the Bay and working with underserved youth. \u003c/p>\n\u003cp>Dominique Thorne will star in \u003cem>Ironheart\u003c/em> as Marvel character Riri Williams, an inventive 15-year-old MIT student who reverse-engineers Iron Man’s armor to create her own suit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Oscar-nominated movie \u003cem>Soul \u003c/em>tackles passion, purpose and the meaning of life—topics that aren’t usually addressed in animated films.\u003c/p>\n\u003cp>The movie centers on Joe, a middle school band teacher who feels unfulfilled because his ambition is to be a full-time jazz musician. On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xOsLIiBStEs\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\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=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar-nominated movie \u003cem>Soul \u003c/em>tackles passion, purpose and the meaning of life—topics that aren’t usually addressed in animated films.\u003c/p>\n\u003cp>The movie centers on Joe, a middle school band teacher who feels unfulfilled because his ambition is to be a full-time jazz musician. On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\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/xOsLIiBStEs'\n title='//www.youtube.com/embed/xOsLIiBStEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\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=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lucasfilm Ditches Gina Carano From 'The Mandalorian' Over Social Media Posts",
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"content": "\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. [aside postid='pop_83529']\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucasfilm has fired Gina Carano from her job on \u003cem>The Mandalorian\u003c/em>, after the action star posted on social media that today’s political climate in the U.S. is similar to Nazi Germany’s treatment of Jews. The comments were “abhorrent,” the company said.\u003c/p>\n\u003cp>“Gina Carano is not currently employed by Lucasfilm and there are no plans for her to be in the future,” a Lucasfilm spokesperson said in a widely distributed statement. “Nevertheless, her social media posts denigrating people based on their cultural and religious identities are abhorrent and unacceptable.”\u003c/p>\n\u003cp>Carano was also dropped by the United Talent Agency, which had been representing her, according to \u003ca href=\"https://deadline.com/2021/02/the-mandalorian-actress-gina-carano-agency-uta-part-ways-in-wake-of-social-media-controversy-1234691964/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The comments were made on Carano’s Instagram account, where she shared an image of a woman being chased through the streets. The accompanying text stated that the Nazis fomented public hatred against Jews as part of the Holocaust.\u003c/p>\n\u003cp>“How is that any different from hating someone for their political views?” the post asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In response, commenters said it was offensive to compare political divisions and rancor with the state-engineered systematic killing of millions of Jews and other people.\u003c/p>\n\u003cp>Carano’s Instagram posting was later deleted. But it sparked the hashtag \u003ca href=\"https://twitter.com/search?q=%23FireGinaCarano&src=typeahead_click\" target=\"_blank\" rel=\"noopener noreferrer\">#FireGinaCarano\u003c/a>, which gained steam as people \u003ca href=\"https://twitter.com/djarinculture/status/1359547709900922884\" target=\"_blank\" rel=\"noopener noreferrer\">shared screenshots\u003c/a> of the deleted message.\u003c/p>\n\u003cp>Carano has been criticized for her posts before, including last fall, when she echoed President Donald Trump’s false claims that the 2020 election was stolen.\u003c/p>\n\u003cp>“We need to clean up the election process so we are not left feeling the way we do today,” Carano said two days after the Nov. 3 vote.\u003c/p>\n\u003cp>She has also posted comments and images about face masks that were seen as mocking an essential tool in combating a global pandemic. Carano later clarified that she respects anyone who requests that she wear a mask.\u003c/p>\n\u003cp>“With all the misinformation, I understand either way,” \u003ca href=\"https://twitter.com/ginacarano/status/1303457936069373952\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>.\u003c/p>\n\u003cp>The action star, who translated a winning career in mixed martial arts into roles in films and TV, had won new fans with her portrayal of the battle-hardened Cara Dune on \u003cem>The Mandalorian\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of those fans are defending her now, saying that the reprisals she faces are proof that the current political climate in the U.S. is intolerant. Calling Carano a victim of cancel culture, her supporters are in turn calling for people to cancel Disney Plus, the streaming service on which \u003cem>The Mandalorian \u003c/em>appears.\u003c/p>\n\u003cp>Lucasfilm is parting ways with Carano after reports had suggested she would play a prominent role in future \u003cem>Star Wars\u003c/em> spinoffs, propelled by the runaway success of \u003cem>The Mandalorian\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“According to sources, Lucasfilm planned to unveil Carano as the star of her own Disney+ series during a \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/disney-plans-10-star-wars-and-10-marvel-series-over-next-few-years\" target=\"_blank\" rel=\"noopener noreferrer\">December investors presentation\u003c/a> but scrapped those plans following her November tweets,” \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/the-mandalorian-star-gina-carano-fired-amid-social-media-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">The Hollywood Reporter\u003c/a>\u003c/em> said.\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=Lucasfilm+Ditches+Gina+Carano+From+%27The+Mandalorian%27+Over+Social+Media+Posts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. [aside postid='arts_13824541']\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'WandaVision': The Next Era of the MCU Will Be Televised",
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"content": "\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. [aside postid='pop_109932']\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sj9J2ecsSpo\u003c/p>\n\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. [aside postid='arts_13872364']\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\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/sj9J2ecsSpo'\n title='//www.youtube.com/embed/sj9J2ecsSpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Julie Andrews first sang “A Spoonful of Sugar,” its songwriter found inspiration for the iconic \u003cem>Mary Poppins\u003c/em> tune in an unlikely place.\u003c/p>\n\u003cp>The late Robert B. Sherman wrote it with his brother, Richard; many of the duo’s songs are featured in classic Walt Disney films. At StoryCorps last month, Robert’s son, Jeffrey, said that it was telling his father about getting the polio vaccine as a child that sparked the lyrics for the famous song.\u003c/p>\n\u003cp>Jeffrey, now 63, said his dad had a way with words.\u003c/p>\n\u003cp>“My dad always filtered everything down to its simplest form,” he said.\u003c/p>\n\u003cp>“People thought maybe he wasn’t listening, but he would always listen. And then he would form his words very carefully. … He wanted to just know words and he loved the sound of words and how they felt on your tongue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ftxnr28LDXc\u003c/p>\n\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&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>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\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/ftxnr28LDXc'\n title='//www.youtube.com/embed/ftxnr28LDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Wild Minds' Traces the Origins of Animation—From Blackton and McCay to Disney",
"headTitle": "‘Wild Minds’ Traces the Origins of Animation—From Blackton and McCay to Disney | KQED",
"content": "\u003cp>Everything I needed to know for Junior High School I learned from cartoons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889843 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png\" alt=\"\" width=\"276\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png 276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM-160x237.png 160w\" sizes=\"(max-width: 276px) 100vw, 276px\">Twice a day, before and after school, my local TV station delivered three Warner Brothers \u003cem>Looney Tunes\u003c/em> shorts. There, Bugs Bunny gave me master classes in the Brooklyn-accented snark and wise-cracking I aspired to. While my teachers might not have appreciated what I was learning, those dazzling 10-minute comedy masterpieces were also my introduction to what happens at the intersection of animation and excellence.\u003c/p>\n\u003cp>While my 12-year-old self came for the antics of Bugs, Daffy Duck and the rest, even then I could sense that something else, something very adult, was happening in those cartoons. That’s why I’ve remained a fan of the form, finding as much to enjoy in new seasons of \u003cem>Rick and Morty\u003c/em> as in the timeless achievement of Disney’s \u003cem>Fantasia\u003c/em>. It is also the reason for my delight with \u003cem>Wild Minds,\u003c/em> the new history of animation by Reid Mitenbuler.\u003c/p>\n\u003cp>Superficially, \u003cem>Wild Minds:The Artists and Rivalries That Inspired the Golden Age of Animation\u003c/em> is about the origins of \u003cem>Mickey Mouse\u003c/em>, \u003cem>Popeye the Sailor\u003c/em> and \u003cem>Bugs Bunny\u003c/em> cartoons. But Mitenbuler’s real target is a quintessentially American story of daring ambition, personal re-invention and the eternal tug-of-war of between art and business.\u003c/p>\n\u003cp>Animation occupies a particular place in the history of motion pictures. At the dawn of the 20th century, the technology emerged for running a chain of still photographs together to create the illusion of motion. While this new medium of “movies” was startling enough to the public, a handful of visionaries and inventors saw that pictures of the real world were just the beginning. Humans had been imagining the impossible for thousands of years through stories and myth populated by flying dragons, magical elves and talking animals. By chaining together drawings of these, rather than just photographs, such dreams of the imagination could finally be given life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mitenbuler spends the first quarter of the book tracking the history of these pioneers. James Stuart Blackton, a newspaper cartoonist, created the first animated film \u003ca href=\"https://www.youtube.com/watch?v=wGh6maN4l2I\" target=\"_blank\" rel=\"noopener noreferrer\">Humorous Phases of Funny Faces\u003c/a> using nothing more than a blackboard, chalk, an eraser and a camera. Another newspaper cartoonist, Winsor McCay knew Blackton and quickly saw animation’s deeper potential. Looking for an artistic challenge, McCay decided to create a film based on his own highly popular comic strip \u003cem>Little Nemo in Slumberland\u003c/em>. Churning out 4,000 drawings for just a few minutes of animation, McCay’s film \u003ca href=\"https://www.youtube.com/watch?v=2f8tfSHIU_g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Nemo\u003c/em>\u003c/a> was shown in to mesmerized audiences in 1911. The work was so beautiful that decades later Chuck Jones, who created many of my Bugs Bunny favorites, would tell an interviewer: “It was as though the first creature to emerge from the primeval slime was Albert Einstein and the second was an amoeba, because after McCay’s animation it took his followers nearly 20 years to figure out how he did it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2f8tfSHIU_g\u003c/p>\n\u003cp>McCay, with his masterpieces \u003ca href=\"McCay%20with%20his%20masterpiece%20Gertie%20the%20Dinosaur\" target=\"_blank\" rel=\"noopener noreferrer\">Gertie the Dinosaur\u003c/a> and later \u003ca href=\"https://www.youtube.com/watch?v=wq7hMuiz1mI\" target=\"_blank\" rel=\"noopener noreferrer\">The Sinking of the Lusitania\u003c/a>, had indeed set the bar for artistic excellence very high. But art was not all that was at stake in these early years of animation.\u003c/p>\n\u003cp>Once the owners of movie houses and production companies recognized that audiences liked cartoons, the race was on to produce as many of them as fast as possible. As animation companies began to multiply (mostly around New York City even as California became the home to live-action movie studios), fierce competition and bottom-line pressure made working conditions hell. The early studios were basically artistic sweatshops built to churn out drawing after drawing in cramped, roach-infested offices.\u003c/p>\n\u003cp>Mitenbuler peppers the stories of these hard-scrabble years with well-drawn characters like Essie Fleisher, whom he describes as the 5 ft. 3 in., hot-tempered, broken-nosed wife of Max Fleischer. Max was in the midst of building an animation house that would eventually produce the fantastically popular \u003cem>Popeye the Sailor\u003c/em> cartoons. But when we first meet Max, his attempts to get a business started are flailing. Expecting Essie to explode at the news of his latest failure, Max and his brothers are stunned when she hands them $150. This was money she’d saved from her intense gambling habit. “This is for your crazy idea” she tells them and walks off, Mitenbuler recounts.\u003c/p>\n\u003cp>But not every budding animator headed to New York. Mitenbuler focuses the middle of his story on Walter Elias Disney and his magnificent genius. It’s not Disney’s talent as an animator that matters for this story. He was just OK as an artist. Instead, it’s Disney’s capacities as a storyteller with an ability to organize the skills of others that brought animation to higher levels of both artistic and commercial success. The arc of Walt’s journey from the son of an unsuccessful midwestern businessman to the final, cosmic scale success of his California-based empire that represents one of the strongest narrative lines in Mitenbuler’s book.\u003c/p>\n\u003cp>But as a devotee of the great Bugs Bunny, my favorite part of \u003cem>Wild Minds\u003c/em> was the story of Warner Brothers Studio. The animation house began in 1929 with, as Mitenbuler writes, “no great artistic vision.” Instead, its founder Leon Schlesinger had a more singular goal “Disney can make the chicken salad, I wanna make the chicken s–t.” Schlesinger just wanted to make money. Ironically Schlesinger’s disinterest in animation itself contributed to the greatness of his studio’s product. The artists, musicians and directors held Schlesinger in as low regard as he held them and from that emerged the subversive style that Bugs and company would become so famous for. As Mitenbuler writes:\u003c/p>\n\u003cblockquote>\u003cp>“Whereas the Disney animators worshipped their boss, those at Warner Bros. constantly poked fun at theirs, creating an atmosphere of rebellion that quickly became part of the studio’s DNA. In the end, this turned out to their benefit, giving the animators a sharp edge that would define their style. ‘I’ve always felt that it was a vital factor to have people you fight against,’ animator and director Chuck Jones [one of Warner Bros most talented directors] recalled of the antagonistic relationship with his boss.”\u003c/p>\u003c/blockquote>\n\u003cp>Mitenbuler ends the book at the beginning of the 1960s as many of his heroes are growing old or dying and their cherished medium is being transformed into filler for Saturday morning TV. While animation would rise again to find its place in our own era of the long-running \u003cem>Simpsons\u003c/em> and the glorious works of \u003ca href=\"https://www.youtube.com/watch?v=4OiMOHRDs14\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>, Mitenbuler’s book is a gem for anyone wanting to understand animation’s origin story.\u003c/p>\n\u003cp>That’s all folks!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\" target=\"_blank\" rel=\"noopener noreferrer\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>.\u003cem>\u003cem> You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\" target=\"_blank\" rel=\"noopener noreferrer\">@adamfrank4\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wild+Minds%27+Traces+The+Origins+Of+Animation++%E2%80%94+From+Blackton+And+McCay+To+Disney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everything I needed to know for Junior High School I learned from cartoons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889843 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png\" alt=\"\" width=\"276\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png 276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM-160x237.png 160w\" sizes=\"(max-width: 276px) 100vw, 276px\">Twice a day, before and after school, my local TV station delivered three Warner Brothers \u003cem>Looney Tunes\u003c/em> shorts. There, Bugs Bunny gave me master classes in the Brooklyn-accented snark and wise-cracking I aspired to. While my teachers might not have appreciated what I was learning, those dazzling 10-minute comedy masterpieces were also my introduction to what happens at the intersection of animation and excellence.\u003c/p>\n\u003cp>While my 12-year-old self came for the antics of Bugs, Daffy Duck and the rest, even then I could sense that something else, something very adult, was happening in those cartoons. That’s why I’ve remained a fan of the form, finding as much to enjoy in new seasons of \u003cem>Rick and Morty\u003c/em> as in the timeless achievement of Disney’s \u003cem>Fantasia\u003c/em>. It is also the reason for my delight with \u003cem>Wild Minds,\u003c/em> the new history of animation by Reid Mitenbuler.\u003c/p>\n\u003cp>Superficially, \u003cem>Wild Minds:The Artists and Rivalries That Inspired the Golden Age of Animation\u003c/em> is about the origins of \u003cem>Mickey Mouse\u003c/em>, \u003cem>Popeye the Sailor\u003c/em> and \u003cem>Bugs Bunny\u003c/em> cartoons. But Mitenbuler’s real target is a quintessentially American story of daring ambition, personal re-invention and the eternal tug-of-war of between art and business.\u003c/p>\n\u003cp>Animation occupies a particular place in the history of motion pictures. At the dawn of the 20th century, the technology emerged for running a chain of still photographs together to create the illusion of motion. While this new medium of “movies” was startling enough to the public, a handful of visionaries and inventors saw that pictures of the real world were just the beginning. Humans had been imagining the impossible for thousands of years through stories and myth populated by flying dragons, magical elves and talking animals. By chaining together drawings of these, rather than just photographs, such dreams of the imagination could finally be given life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mitenbuler spends the first quarter of the book tracking the history of these pioneers. James Stuart Blackton, a newspaper cartoonist, created the first animated film \u003ca href=\"https://www.youtube.com/watch?v=wGh6maN4l2I\" target=\"_blank\" rel=\"noopener noreferrer\">Humorous Phases of Funny Faces\u003c/a> using nothing more than a blackboard, chalk, an eraser and a camera. Another newspaper cartoonist, Winsor McCay knew Blackton and quickly saw animation’s deeper potential. Looking for an artistic challenge, McCay decided to create a film based on his own highly popular comic strip \u003cem>Little Nemo in Slumberland\u003c/em>. Churning out 4,000 drawings for just a few minutes of animation, McCay’s film \u003ca href=\"https://www.youtube.com/watch?v=2f8tfSHIU_g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Nemo\u003c/em>\u003c/a> was shown in to mesmerized audiences in 1911. The work was so beautiful that decades later Chuck Jones, who created many of my Bugs Bunny favorites, would tell an interviewer: “It was as though the first creature to emerge from the primeval slime was Albert Einstein and the second was an amoeba, because after McCay’s animation it took his followers nearly 20 years to figure out how he did it.”\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/2f8tfSHIU_g'\n title='//www.youtube.com/embed/2f8tfSHIU_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McCay, with his masterpieces \u003ca href=\"McCay%20with%20his%20masterpiece%20Gertie%20the%20Dinosaur\" target=\"_blank\" rel=\"noopener noreferrer\">Gertie the Dinosaur\u003c/a> and later \u003ca href=\"https://www.youtube.com/watch?v=wq7hMuiz1mI\" target=\"_blank\" rel=\"noopener noreferrer\">The Sinking of the Lusitania\u003c/a>, had indeed set the bar for artistic excellence very high. But art was not all that was at stake in these early years of animation.\u003c/p>\n\u003cp>Once the owners of movie houses and production companies recognized that audiences liked cartoons, the race was on to produce as many of them as fast as possible. As animation companies began to multiply (mostly around New York City even as California became the home to live-action movie studios), fierce competition and bottom-line pressure made working conditions hell. The early studios were basically artistic sweatshops built to churn out drawing after drawing in cramped, roach-infested offices.\u003c/p>\n\u003cp>Mitenbuler peppers the stories of these hard-scrabble years with well-drawn characters like Essie Fleisher, whom he describes as the 5 ft. 3 in., hot-tempered, broken-nosed wife of Max Fleischer. Max was in the midst of building an animation house that would eventually produce the fantastically popular \u003cem>Popeye the Sailor\u003c/em> cartoons. But when we first meet Max, his attempts to get a business started are flailing. Expecting Essie to explode at the news of his latest failure, Max and his brothers are stunned when she hands them $150. This was money she’d saved from her intense gambling habit. “This is for your crazy idea” she tells them and walks off, Mitenbuler recounts.\u003c/p>\n\u003cp>But not every budding animator headed to New York. Mitenbuler focuses the middle of his story on Walter Elias Disney and his magnificent genius. It’s not Disney’s talent as an animator that matters for this story. He was just OK as an artist. Instead, it’s Disney’s capacities as a storyteller with an ability to organize the skills of others that brought animation to higher levels of both artistic and commercial success. The arc of Walt’s journey from the son of an unsuccessful midwestern businessman to the final, cosmic scale success of his California-based empire that represents one of the strongest narrative lines in Mitenbuler’s book.\u003c/p>\n\u003cp>But as a devotee of the great Bugs Bunny, my favorite part of \u003cem>Wild Minds\u003c/em> was the story of Warner Brothers Studio. The animation house began in 1929 with, as Mitenbuler writes, “no great artistic vision.” Instead, its founder Leon Schlesinger had a more singular goal “Disney can make the chicken salad, I wanna make the chicken s–t.” Schlesinger just wanted to make money. Ironically Schlesinger’s disinterest in animation itself contributed to the greatness of his studio’s product. The artists, musicians and directors held Schlesinger in as low regard as he held them and from that emerged the subversive style that Bugs and company would become so famous for. As Mitenbuler writes:\u003c/p>\n\u003cblockquote>\u003cp>“Whereas the Disney animators worshipped their boss, those at Warner Bros. constantly poked fun at theirs, creating an atmosphere of rebellion that quickly became part of the studio’s DNA. In the end, this turned out to their benefit, giving the animators a sharp edge that would define their style. ‘I’ve always felt that it was a vital factor to have people you fight against,’ animator and director Chuck Jones [one of Warner Bros most talented directors] recalled of the antagonistic relationship with his boss.”\u003c/p>\u003c/blockquote>\n\u003cp>Mitenbuler ends the book at the beginning of the 1960s as many of his heroes are growing old or dying and their cherished medium is being transformed into filler for Saturday morning TV. While animation would rise again to find its place in our own era of the long-running \u003cem>Simpsons\u003c/em> and the glorious works of \u003ca href=\"https://www.youtube.com/watch?v=4OiMOHRDs14\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>, Mitenbuler’s book is a gem for anyone wanting to understand animation’s origin story.\u003c/p>\n\u003cp>That’s all folks!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\" target=\"_blank\" rel=\"noopener noreferrer\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>.\u003cem>\u003cem> You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\" target=\"_blank\" rel=\"noopener noreferrer\">@adamfrank4\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wild+Minds%27+Traces+The+Origins+Of+Animation++%E2%80%94+From+Blackton+And+McCay+To+Disney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Return of 'The Mandalorian' (and Baby Yoda)",
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"content": "\u003cp>The secret weapon of Disney+’s \u003cem>The Mandalorian\u003c/em>, is discovery.\u003c/p>\n\u003cp>It’s pretty much in the DNA of the series—which became a streaming TV phenomenon last year—on the strength of a new character the series calls “The Child” but most of us fans call Baby Yoda.\u003c/p>\n\u003cp>The goal: to explore all the nooks and crannies of the \u003cem>Star Wars\u003c/em> universe that the big movies ignored and build compelling stories around them.\u003c/p>\n\u003cp>I’m happy to note the first episode of the show’s second season leans hard into it with spectacular results. We see a new side of Luke Skywalker’s home planet Tatooine, learn the aftermath of the second Death Star explosion (seen in 1983’s \u003cem>Return of the Jedi\u003c/em>), uncover fresh depths in the Tusken Raiders’ culture and meet a character from the original films whose legacy has shadowed this series since it debuted with the Disney+ service back in November 2019.\u003c/p>\n\u003cp>(Don’t worry, I’m not dropping that name. But there will be a few smaller spoilers and hints sprinkled through this review, so consider yourself warned.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For disenchanted \u003cem>Star Wars\u003c/em> fans like myself—folks who have grown frustrated and dismissive of the bloated predictability in the franchise’s recent films—\u003cem>The Mandalorian\u003c/em> is an impressive, expertly-executed do-over. It revisits and reinvents a fictional world loaded with storytelling promise, too often underutilized on the big screen in the drive to build the next sci-fi blockbuster.\u003c/p>\n\u003cp>From its start, \u003cem>The Mandalorian\u003c/em> had simple goals and a direct style. Built around a bounty hunter presumed to be a member of a legendary warrior race, the first season turned on his discovery of The Child during a job and his decision to become its defender.\u003c/p>\n\u003cp>Fans knew immediately this kid was a pint-sized specimen from the same race as one of the most famous \u003cem>Star Wars\u003c/em> characters, Jedi Master Yoda. Over the course of the first season, “Mando”—a nickname from the show which sounds so close to a slur I resist deploying it—discovers he must find other members of this race and bring The Child to them, pursued by remnants of the evil, authoritarian Empire who realize the youngling is a powerful resource.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eW7Twd85m2g\u003c/p>\n\u003cp>For all those who complained about the series’ slow \u003ca href=\"https://www.npr.org/2019/11/12/778632606/the-mandalorian-has-the-nostalgia-and-storytelling-that-star-wars-fans-want\" target=\"_blank\" rel=\"noopener noreferrer\">start\u003c/a> in 2019, this year’s model kicks off with a swirl of intensity. Our Hero survives a fight, only to learn he must head to Tatooine to find another Mandalorian who might know where The Child’s people live.\u003c/p>\n\u003cp>Once there, he stumbles on Mandalorian armor any \u003cem>Star Wars\u003c/em> fan would instantly recognize, worn by a local marshal played by the best actor to ever embody a sharp-shooting lawman, \u003cem>Justified\u003c/em> alum Timothy Olyphant (told you there would be a few spoilers). The moment Olyphant lets fly with one of his smart-alecky quips, you know these two are teaming up for something.\u003c/p>\n\u003cp>If the mothership \u003cem>Star Wars\u003c/em> movies are space operas built around reimagined fragments of samurai films and the legends of medieval knights, then \u003cem>The Mandalorian\u003c/em> finds its tone in a slightly different genre: it’s a straight up Western.\u003c/p>\n\u003cp>And there is no greater Western trope than the story of a scrappy, dusty frontier town threatened by a grand danger, depending on a stalwart sheriff and mysterious, gunslinging stranger to help save the day.\u003c/p>\n\u003cp>The great challenge of \u003cem>The Mandalorian\u003c/em> is to keep us entertained, even as it references familiar storytelling most fans know so well, they can predict the end of the tale even as it begins.\u003c/p>\n\u003cp>Because we know how Westerns work, we know Our Hero and Olyphant’s character will form an uneasy alliance, after a tense initial moment. We know they’ll eventually find success. We know that success will cement an uneasy, culture-bridging alliance between the townspeople and the Tusken Raiders, marauding pirates who attack Luke Skywalker in the very first \u003cem>Star Wars\u003c/em> film.\u003c/p>\n\u003cp>But the brilliance of \u003cem>The Mandalorian’s\u003c/em> new installment is how it deploys revelations about the \u003cem>Star Wars\u003c/em> universe to keep us guessing and engaged, topped by the episode-ending reveal of a character that will make fans squeal with anticipation and delight (How do I know this? Guess who squealed loud enough to wake my neighbors when the final scene appeared?)\u003c/p>\n\u003cp>Creator Jon Favreau—who wrote and directed this first episode of the new season—seems to have learned from critical snipes about the first season. The storytelling pace here is quicker, with more reveals that spark deeper questions; just as scenes lapse into the gobbledygooky space jargon needed to build the plot, we get a little action to break things up and remind us we’re watching a gritty, occasionally grand adventure. And the new episode is 55 minutes long, compared to last season’s installments, which averaged about 40 minutes each.\u003c/p>\n\u003cp>Best of all, I left this new episode eager to see what comes next, and a little annoyed with Disney+ that they don’t follow Netflix’s binge model and drop an entire season at once.\u003c/p>\n\u003cp>This new episode of \u003cem>The Mandalorian\u003c/em> proves the first season wasn’t a fluke. They have revitalized one of sci-fi’s biggest franchises, boosted one of media’s biggest streaming services and marked a bold new chapter for one of TV’s most ambitious and well-crafted series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not a bad day’s work—even for the coolest Mandalorian in a galaxy far, far away.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Return+Of+%27The+Mandalorian%27+%28And+Baby+Yoda%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The secret weapon of Disney+’s \u003cem>The Mandalorian\u003c/em>, is discovery.\u003c/p>\n\u003cp>It’s pretty much in the DNA of the series—which became a streaming TV phenomenon last year—on the strength of a new character the series calls “The Child” but most of us fans call Baby Yoda.\u003c/p>\n\u003cp>The goal: to explore all the nooks and crannies of the \u003cem>Star Wars\u003c/em> universe that the big movies ignored and build compelling stories around them.\u003c/p>\n\u003cp>I’m happy to note the first episode of the show’s second season leans hard into it with spectacular results. We see a new side of Luke Skywalker’s home planet Tatooine, learn the aftermath of the second Death Star explosion (seen in 1983’s \u003cem>Return of the Jedi\u003c/em>), uncover fresh depths in the Tusken Raiders’ culture and meet a character from the original films whose legacy has shadowed this series since it debuted with the Disney+ service back in November 2019.\u003c/p>\n\u003cp>(Don’t worry, I’m not dropping that name. But there will be a few smaller spoilers and hints sprinkled through this review, so consider yourself warned.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For disenchanted \u003cem>Star Wars\u003c/em> fans like myself—folks who have grown frustrated and dismissive of the bloated predictability in the franchise’s recent films—\u003cem>The Mandalorian\u003c/em> is an impressive, expertly-executed do-over. It revisits and reinvents a fictional world loaded with storytelling promise, too often underutilized on the big screen in the drive to build the next sci-fi blockbuster.\u003c/p>\n\u003cp>From its start, \u003cem>The Mandalorian\u003c/em> had simple goals and a direct style. Built around a bounty hunter presumed to be a member of a legendary warrior race, the first season turned on his discovery of The Child during a job and his decision to become its defender.\u003c/p>\n\u003cp>Fans knew immediately this kid was a pint-sized specimen from the same race as one of the most famous \u003cem>Star Wars\u003c/em> characters, Jedi Master Yoda. Over the course of the first season, “Mando”—a nickname from the show which sounds so close to a slur I resist deploying it—discovers he must find other members of this race and bring The Child to them, pursued by remnants of the evil, authoritarian Empire who realize the youngling is a powerful resource.\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/eW7Twd85m2g'\n title='//www.youtube.com/embed/eW7Twd85m2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For all those who complained about the series’ slow \u003ca href=\"https://www.npr.org/2019/11/12/778632606/the-mandalorian-has-the-nostalgia-and-storytelling-that-star-wars-fans-want\" target=\"_blank\" rel=\"noopener noreferrer\">start\u003c/a> in 2019, this year’s model kicks off with a swirl of intensity. Our Hero survives a fight, only to learn he must head to Tatooine to find another Mandalorian who might know where The Child’s people live.\u003c/p>\n\u003cp>Once there, he stumbles on Mandalorian armor any \u003cem>Star Wars\u003c/em> fan would instantly recognize, worn by a local marshal played by the best actor to ever embody a sharp-shooting lawman, \u003cem>Justified\u003c/em> alum Timothy Olyphant (told you there would be a few spoilers). The moment Olyphant lets fly with one of his smart-alecky quips, you know these two are teaming up for something.\u003c/p>\n\u003cp>If the mothership \u003cem>Star Wars\u003c/em> movies are space operas built around reimagined fragments of samurai films and the legends of medieval knights, then \u003cem>The Mandalorian\u003c/em> finds its tone in a slightly different genre: it’s a straight up Western.\u003c/p>\n\u003cp>And there is no greater Western trope than the story of a scrappy, dusty frontier town threatened by a grand danger, depending on a stalwart sheriff and mysterious, gunslinging stranger to help save the day.\u003c/p>\n\u003cp>The great challenge of \u003cem>The Mandalorian\u003c/em> is to keep us entertained, even as it references familiar storytelling most fans know so well, they can predict the end of the tale even as it begins.\u003c/p>\n\u003cp>Because we know how Westerns work, we know Our Hero and Olyphant’s character will form an uneasy alliance, after a tense initial moment. We know they’ll eventually find success. We know that success will cement an uneasy, culture-bridging alliance between the townspeople and the Tusken Raiders, marauding pirates who attack Luke Skywalker in the very first \u003cem>Star Wars\u003c/em> film.\u003c/p>\n\u003cp>But the brilliance of \u003cem>The Mandalorian’s\u003c/em> new installment is how it deploys revelations about the \u003cem>Star Wars\u003c/em> universe to keep us guessing and engaged, topped by the episode-ending reveal of a character that will make fans squeal with anticipation and delight (How do I know this? Guess who squealed loud enough to wake my neighbors when the final scene appeared?)\u003c/p>\n\u003cp>Creator Jon Favreau—who wrote and directed this first episode of the new season—seems to have learned from critical snipes about the first season. The storytelling pace here is quicker, with more reveals that spark deeper questions; just as scenes lapse into the gobbledygooky space jargon needed to build the plot, we get a little action to break things up and remind us we’re watching a gritty, occasionally grand adventure. And the new episode is 55 minutes long, compared to last season’s installments, which averaged about 40 minutes each.\u003c/p>\n\u003cp>Best of all, I left this new episode eager to see what comes next, and a little annoyed with Disney+ that they don’t follow Netflix’s binge model and drop an entire season at once.\u003c/p>\n\u003cp>This new episode of \u003cem>The Mandalorian\u003c/em> proves the first season wasn’t a fluke. They have revitalized one of sci-fi’s biggest franchises, boosted one of media’s biggest streaming services and marked a bold new chapter for one of TV’s most ambitious and well-crafted series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not a bad day’s work—even for the coolest Mandalorian in a galaxy far, far away.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Return+Of+%27The+Mandalorian%27+%28And+Baby+Yoda%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It's Disneyland's Birthday! Since We Can't Go There, Let's Explore Its 'Gangs'",
"headTitle": "It’s Disneyland’s Birthday! Since We Can’t Go There, Let’s Explore Its ‘Gangs’ | KQED",
"content": "\u003cp>On this day in 1955, Disneyland opened for the very first time. And while Florida’s Disney World is \u003ca href=\"https://www.insider.com/disney-reopening-world-coronavirus-walt-instagram-park-safety-2020-7\" target=\"_blank\" rel=\"noopener noreferrer\">back up and running\u003c/a> despite the raging pandemic, California’s Disneyland remains \u003ca href=\"https://disneyland.disney.go.com/travel-information/\" target=\"_blank\" rel=\"noopener noreferrer\">temporarily closed\u003c/a>.\u003c/p>\n\u003cp>As such, it’s the perfect time to take a virtual tour around a lesser known element of the Happiest Place on Earth—the Disney Social Clubs. There are currently \u003ca href=\"https://www.socialclubsofdisney.com/list-of-clubs\" target=\"_blank\" rel=\"noopener noreferrer\">over 200\u003c/a> of them, and due to their enthusiasm for biker vests and tattoos, outsiders commonly refer to them as the “Gangs of Disneyland.” (NB: They do not like this.)\u003c/p>\n\u003cp>Ranging in size from small family packs to crews with over 100 members, the social clubs are comprised of Disney-adoring misfits with an appetite for spending time with like-minded fans on their favorite rides. While also looking tough.\u003c/p>\n\u003cp>Because they often so closely resemble actual biker gangs, the clubs have been the source of some controversy, with wholesome parents at the parks alarmed by their appearance. Truthfully, the most annoyance they’re liable to cause is during one of their “ride takeovers”—pre-planned excursions to one specific ride, with the goal of filling every available seat with a club member. (Hardly the stuff of nightmares.)\u003c/p>\n\u003cp>Roxy Tart, who heads up a social club called the Bangerang Babes, moved from the Bay Area to Southern California specifically to be closer to Disneyland. “Your club is like your immediate family and the other clubs are like your extended family,” she told the \u003ca href=\"https://www.businessinsider.com/household-name\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brought to You By…\u003c/em>\u003c/a> podcast in 2019. “Almost everyone in the social club scene was an outcast and then we found each other… When you walk into Disneyland, you’re transported… It doesn’t matter where we’re from, if we’re rich or poor, male or female or whatever, it’s a place we can go and we all feel like little kids.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Disney has gone on the record as supportive of the social clubs. Spokesperson Kevin Rafferty Jr. \u003ca href=\"https://www.vice.com/en_us/article/8gdqy5/the-punks-of-the-magic-kingdom\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Vice\u003c/em>\u003c/a> in 2014, in reference to the clubs: “We are fortunate to have guests who share such a strong affinity for Disneyland Resort.”\u003c/p>\n\u003cp>So, without further ado, meet the \u003cspan style=\"text-decoration: line-through\">Gangs of Disneyland\u003c/span> Disney Social Clubs. (Well… some of them, anyway.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mainstreetelitesc/\" target=\"_blank\" rel=\"noopener noreferrer\">The Main Street Elite\u003c/a>, whose tagline is “All For Walt.”\u003c/p>\n\u003cp>https://www.instagram.com/p/8FhKXemi3x/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thewhiterabbitssc/\" target=\"_blank\" rel=\"noopener noreferrer\">The White Rabbits Social Club\u003c/a>, named for the \u003cem>Alice in Wonderland\u003c/em> character, who members say was in a “secret organization to overthrow the evil Queen Of Hearts.” K.\u003c/p>\n\u003cp>https://www.instagram.com/p/BC6kPTLAIif/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thebigbadwolvessc/\" target=\"_blank\" rel=\"noopener noreferrer\">The Big Bad Wolves\u003c/a>, who are exercising appropriate safety precautions in the time of COVID-19.\u003c/p>\n\u003cp>https://www.instagram.com/p/CAjBx-UHCQ8/\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/junglecruisers/\" target=\"_blank\" rel=\"noopener noreferrer\">Jungle Cruisers\u003c/a>, who refer to themselves as simply “Disney enthusiasts” and “family.”\u003c/p>\n\u003cp>https://www.instagram.com/p/oKDUxuQn6y/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tomorrowlandrebelssc/\" target=\"_blank\" rel=\"noopener noreferrer\">Tomorrowland Rebels\u003c/a>, a \u003cem>Star Wars\u003c/em>-themed club that aligns itself with the rebel alliance.\u003c/p>\n\u003cp>https://www.instagram.com/p/BCqqoQmDC23/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tomorrowlandravagers_sc/\" target=\"_blank\" rel=\"noopener noreferrer\">Tomorrowland Ravagers\u003c/a> hail from Northern California! So they’re one of ours!\u003c/p>\n\u003cp>https://www.instagram.com/p/BwLjn9dnzOc/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/fountainsofcolorsc/\" target=\"_blank\" rel=\"noopener noreferrer\">Fountains of Color\u003c/a>, the largest and most active LGBT+ Disney social club.\u003c/p>\n\u003cp>https://www.instagram.com/p/B4bA930hOmI/\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/spacerangersc/\" target=\"_blank\" rel=\"noopener noreferrer\">Space Rangers\u003c/a>, whose tagline is borrowed from Buzz Lightyear: “To infinity and beyond!”\u003c/p>\n\u003cp>https://www.instagram.com/p/BI6SasVAfKp/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mickeyspinkladies/\" target=\"_blank\" rel=\"noopener noreferrer\">Mickey’s Pink Ladies\u003c/a>, who were “the first all-girl Disney Social Club.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BdKDiimgkms/\u003c/p>\n\u003cp>The San Fransokyo Stormtroopers, another \u003cem>Star Wars\u003c/em>-centric crew:\u003c/p>\n\u003cp>https://www.instagram.com/p/yBG_eZjC4i/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/order66sc/\" target=\"_blank\" rel=\"noopener noreferrer\">Order 66\u003c/a>, who claim to be “Bringing BALANCE by FORCE, hunting Jedi scum and patrolling the world of Yesterday, Tomorrow, and Fantasy!” Whatever that means.\u003c/p>\n\u003cp>https://www.instagram.com/p/BWG6ZSPAGIn/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thehitchhikerssc/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hitchhikers\u003c/a> have been going since 2013 and have members from all over California:\u003c/p>\n\u003cp>https://www.instagram.com/p/BMuzQBqj9-2/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thesonsofanakin/\" target=\"_blank\" rel=\"noopener noreferrer\">Sons of Anakin\u003c/a>, who definitely have the best name of all of the \u003cem>Star Wars\u003c/em>-themed crews:\u003c/p>\n\u003cp>https://www.instagram.com/p/Buu5_GdH56J/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/the_bangerang_babes/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bangerang Babes\u003c/a> are the social club most likely to leave you covered in glitter. (One of them is a drag queen.)\u003c/p>\n\u003cp>https://www.instagram.com/p/BzMohMwgDrG/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tigger_army_sc/\" target=\"_blank\" rel=\"noopener noreferrer\">Tigger Army\u003c/a>—a club honoring both Tigger from Winnie the Pooh and Tiger Army, the Berkeley punk rock band.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0eg2sWAksi/\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/neverlandmermaidssc/\" target=\"_blank\" rel=\"noopener noreferrer\">Neverland Mermaids\u003c/a> are the club most likely to eschew sleeveless denim for pretty dresses.\u003c/p>\n\u003cp>https://www.instagram.com/p/BR2GmgTBXjC/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/flynns_riders_sc/\" rel=\"noopener noreferrer\" target=\"_blank\">Flynn’s Riders\u003c/a> are celebrating their fifth anniversary by urging their fellow Disney fans to “stay safe, stay home.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B_UFRhAD945/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Want to be a part of the action? Joining a Disney Social Club is much like pledging a sorority or fraternity, and there is usually an in-depth, sometimes lengthy, application process. Track down the club of your choice to find out more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this day in 1955, Disneyland opened for the very first time. And while Florida’s Disney World is \u003ca href=\"https://www.insider.com/disney-reopening-world-coronavirus-walt-instagram-park-safety-2020-7\" target=\"_blank\" rel=\"noopener noreferrer\">back up and running\u003c/a> despite the raging pandemic, California’s Disneyland remains \u003ca href=\"https://disneyland.disney.go.com/travel-information/\" target=\"_blank\" rel=\"noopener noreferrer\">temporarily closed\u003c/a>.\u003c/p>\n\u003cp>As such, it’s the perfect time to take a virtual tour around a lesser known element of the Happiest Place on Earth—the Disney Social Clubs. There are currently \u003ca href=\"https://www.socialclubsofdisney.com/list-of-clubs\" target=\"_blank\" rel=\"noopener noreferrer\">over 200\u003c/a> of them, and due to their enthusiasm for biker vests and tattoos, outsiders commonly refer to them as the “Gangs of Disneyland.” (NB: They do not like this.)\u003c/p>\n\u003cp>Ranging in size from small family packs to crews with over 100 members, the social clubs are comprised of Disney-adoring misfits with an appetite for spending time with like-minded fans on their favorite rides. While also looking tough.\u003c/p>\n\u003cp>Because they often so closely resemble actual biker gangs, the clubs have been the source of some controversy, with wholesome parents at the parks alarmed by their appearance. Truthfully, the most annoyance they’re liable to cause is during one of their “ride takeovers”—pre-planned excursions to one specific ride, with the goal of filling every available seat with a club member. (Hardly the stuff of nightmares.)\u003c/p>\n\u003cp>Roxy Tart, who heads up a social club called the Bangerang Babes, moved from the Bay Area to Southern California specifically to be closer to Disneyland. “Your club is like your immediate family and the other clubs are like your extended family,” she told the \u003ca href=\"https://www.businessinsider.com/household-name\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brought to You By…\u003c/em>\u003c/a> podcast in 2019. “Almost everyone in the social club scene was an outcast and then we found each other… When you walk into Disneyland, you’re transported… It doesn’t matter where we’re from, if we’re rich or poor, male or female or whatever, it’s a place we can go and we all feel like little kids.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Disney has gone on the record as supportive of the social clubs. Spokesperson Kevin Rafferty Jr. \u003ca href=\"https://www.vice.com/en_us/article/8gdqy5/the-punks-of-the-magic-kingdom\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Vice\u003c/em>\u003c/a> in 2014, in reference to the clubs: “We are fortunate to have guests who share such a strong affinity for Disneyland Resort.”\u003c/p>\n\u003cp>So, without further ado, meet the \u003cspan style=\"text-decoration: line-through\">Gangs of Disneyland\u003c/span> Disney Social Clubs. (Well… some of them, anyway.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mainstreetelitesc/\" target=\"_blank\" rel=\"noopener noreferrer\">The Main Street Elite\u003c/a>, whose tagline is “All For Walt.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/thewhiterabbitssc/\" target=\"_blank\" rel=\"noopener noreferrer\">The White Rabbits Social Club\u003c/a>, named for the \u003cem>Alice in Wonderland\u003c/em> character, who members say was in a “secret organization to overthrow the evil Queen Of Hearts.” K.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/thebigbadwolvessc/\" target=\"_blank\" rel=\"noopener noreferrer\">The Big Bad Wolves\u003c/a>, who are exercising appropriate safety precautions in the time of COVID-19.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.instagram.com/junglecruisers/\" target=\"_blank\" rel=\"noopener noreferrer\">Jungle Cruisers\u003c/a>, who refer to themselves as simply “Disney enthusiasts” and “family.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Julian Bass loves Spider-Man, a trait you can easily glean by scrolling through the videos he posts to his TikTok and Twitter accounts.\u003c/p>\n\u003cp>“I just think Spider-Man is so fun. It’s so inspiring to me,” Bass told NPR’s \u003cem>Weekend Edition\u003c/em>. “Everything, every little aspect that you could possibly think of about Spider-Man is something that I’m aware of, that I know of.”\u003c/p>\n\u003cp>In one now-viral video, the 20-year-old theater major at Georgia State University morphs into his favorite heroes using his own special-effects—first a Jedi wielding a blue lightsaber, then Ben 10, before his final transition into Spider-Man. He asked his followers to retweet the video “enough times that Disney calls.” Twenty million views later, \u003ca href=\"https://twitter.com/RobertIger/status/1278869218889367552\" target=\"_blank\" rel=\"noopener noreferrer\">Disney \u003c/a>wasn’t the only one he heard from.\u003c/p>\n\u003cp>https://twitter.com/thejulianbass/status/1278714517770440707\u003c/p>\n\u003cp>At first, he said his video gained “some small traction with my immediate circle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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