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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Angus Cloud, Breakout Star of ‘Euphoria,’ Is Dead at 25",
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"content": "\u003cp>Angus Cloud, the actor who starred as the drug dealer Fezco “Fez” O’Neill on the HBO series \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em>\u003c/a>, has died. He was 25.\u003c/p>\n\u003cp>Cloud’s publicist, Cait Bailey, said Cloud died Monday at his family home in Oakland, California. No cause of death was given.\u003c/p>\n\u003cp>In a statement, Cloud’s family said goodbye to “an artist, a friend, a brother and a son.”\u003c/p>\n\u003cp>“Last week he buried his father and intensely struggled with this loss,” the family said. “The only comfort we have is knowing Angus is now reunited with his dad, who was his best friend. Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>“We hope the world remembers him for his humor, laughter and love for everyone,” his family added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud hadn’t acted before he was cast in \u003cem>Euphoria\u003c/em>. He was walking down the street in New York when casting director Jennifer Venditti noticed him. Series creator Sam Levinson made him the co-star of the series alongside Zendaya for its first two seasons.\u003c/p>\n\u003cp>The part made Cloud the breakout star of one the buzziest shows in television. He was recently cast to co-star in \u003cem>Scream 6\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/euphoriaHBO/status/1686137982003126273?s=20\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Angus Cloud, the actor who starred as the drug dealer Fezco “Fez” O’Neill on the HBO series \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em>\u003c/a>, has died. He was 25.\u003c/p>\n\u003cp>Cloud’s publicist, Cait Bailey, said Cloud died Monday at his family home in Oakland, California. No cause of death was given.\u003c/p>\n\u003cp>In a statement, Cloud’s family said goodbye to “an artist, a friend, a brother and a son.”\u003c/p>\n\u003cp>“Last week he buried his father and intensely struggled with this loss,” the family said. “The only comfort we have is knowing Angus is now reunited with his dad, who was his best friend. Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>“We hope the world remembers him for his humor, laughter and love for everyone,” his family added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The end of the year is nearing, and as usual, Google is recapping 2022’s current events and trends with the most popular searches made through the platform.\u003c/p>\n\u003cp>These are the terms Americans searched the most.\u003c/p>\n\u003ch3>Most popular searches overall\u003c/h3>\n\u003col>[aside postid='arts_13908066']\n\u003cli>Wordle\u003c/li>\n\u003cli>Election results\u003c/li>\n\u003cli>Betty White\u003c/li>\n\u003cli>Queen Elizabeth\u003c/li>\n\u003cli>Bob Saget\u003c/li>\n\u003cli>Ukraine\u003c/li>\n\u003cli>Mega Millions\u003c/li>\n\u003cli>Powerball numbers\u003c/li>\n\u003cli>Anne Heche\u003c/li>\n\u003cli>Jeffrey Dahmer\u003c/li>\n\u003c/ol>\n\u003ch3>\u003c/h3>\n\u003ch3>Most searched people\u003c/h3>\n\u003col>[aside postid='arts_13913533']\n\u003cli>Johnny Depp\u003c/li>\n\u003cli>Will Smith\u003c/li>\n\u003cli>Amber Heard\u003c/li>\n\u003cli>Antonio Brown\u003c/li>\n\u003cli>Kari Lake\u003c/li>\n\u003cli>Anna Sorokin (Delvey)\u003c/li>\n\u003cli>Chris Rock\u003c/li>\n\u003cli>Andrew Tate\u003c/li>\n\u003cli>Adam Levine\u003c/li>\n\u003cli>Serena Williams\u003c/li>\n\u003c/ol>\n\u003ch3>\u003c/h3>\n\u003ch3>Most searched current events\u003c/h3>\n\u003col>[aside postid='arts_13918870']\n\u003cli>Election results\u003c/li>\n\u003cli>Queen Elizabeth passing\u003c/li>\n\u003cli>Ukraine\u003c/li>\n\u003cli>Powerball numbers\u003c/li>\n\u003cli>Hurricane Ian\u003c/li>\n\u003cli>Monkeypox\u003c/li>\n\u003cli>Texas school shooting\u003c/li>\n\u003cli>Will Smith Oscars\u003c/li>\n\u003cli>Johnny Depp verdict\u003c/li>\n\u003cli>Roe v Wade\u003c/li>\n\u003c/ol>\n\u003ch3>\u003c/h3>\n\u003ch3>Most searched movies\u003c/h3>\n\u003col>[aside postid='arts_13915798']\n\u003cli>\u003cem>Encanto\u003c/em>\u003c/li>\n\u003cli>\u003cem>Thor: Love and Thunder\u003c/em>\u003c/li>\n\u003cli>\u003cem>Top Gun: Maverick\u003c/em>\u003c/li>\n\u003cli>\u003cem>The Batman\u003c/em>\u003c/li>\n\u003cli>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/li>\n\u003cli>\u003cem>Black Adam\u003c/em>\u003c/li>\n\u003cli>\u003cem>Jurassic World Dominion\u003c/em>\u003c/li>\n\u003cli>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/li>\n\u003cli>\u003cem>Morbius\u003c/em>\u003c/li>\n\u003cli>\u003cem>Turning Red\u003c/em>\u003c/li>\n\u003c/ol>\n\u003ch3>\u003c/h3>\n\u003ch3>Most searched TV shows\u003c/h3>\n\u003col>[aside postid='arts_13891785']\n\u003cli>\u003cem>Euphoria\u003c/em>\u003c/li>\n\u003cli>\u003cem>Stranger Things\u003c/em>\u003c/li>\n\u003cli>\u003cem>The Watcher\u003c/em>\u003c/li>\n\u003cli>\u003cem>Inventing Anna\u003c/em>\u003c/li>\n\u003cli>\u003cem>House of the Dragon\u003c/em>\u003c/li>\n\u003cli>\u003cem>Moon Knight\u003c/em>\u003c/li>\n\u003cli>\u003cem>Yellowstone\u003c/em>\u003c/li>\n\u003cli>\u003cem>The Summer I Turned Pretty\u003c/em>\u003c/li>\n\u003cli>\u003cem>Obi-Wan Kenobi\u003c/em>\u003c/li>\n\u003cli>\u003cem>She-Hulk: Attorney at Law\u003c/em>\u003c/li>\n\u003c/ol>\n\u003ch3>\u003c/h3>\n\u003ch3>Most searched songs\u003c/h3>\n\u003col>[aside postid='arts_13921777']\n\u003cli>“We Don’t Talk About Bruno” – Encanto\u003c/li>\n\u003cli>“Surface Pressure” – Encanto\u003c/li>\n\u003cli>“Jiggle Jiggle” – Duke & Jones and Louis Theroux\u003c/li>\n\u003cli>“Unholy” – Sam Smith and Kim Petras\u003c/li>\n\u003cli>“As It Was” – Harry Styles\u003c/li>\n\u003cli>“Running Up That Hill” – Kate Bush\u003c/li>\n\u003cli>“Glimpse of Us” – Joji\u003c/li>\n\u003cli>“About Damn Time” – Lizzo\u003c/li>\n\u003cli>“Anti-Hero” – Taylor Swift\u003c/li>\n\u003cli>“What Else Can I Do” – Encanto\u003c/li>\n\u003c/ol>\n\u003ch3>\u003c/h3>\n\u003ch3>Most searched definitions\u003c/h3>\n\u003col>\n\u003cli>Rupee\u003c/li>\n\u003cli>Oligarch\u003c/li>\n\u003cli>Cacao\u003c/li>\n\u003cli>Homer\u003c/li>\n\u003cli>Recession\u003c/li>\n\u003cli>Canny\u003c/li>\n\u003cli>Foray\u003c/li>\n\u003cli>Trove\u003c/li>\n\u003cli>Saute\u003c/li>\n\u003cli>Tacit\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more,\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+words%2C+movies+and+people+that+Americans+searched+for+on+Google+in+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
"headTitle": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV? | KQED",
"content": "\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>[aside postid='arts_13908472']Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. [aside postid='arts_13909218']\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n",
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"headline": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster",
"headTitle": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster | KQED",
"content": "\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13905720']“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On-Screen Peen: Equal-Opportunity Nudity or Dangling Distraction?",
"headTitle": "On-Screen Peen: Equal-Opportunity Nudity or Dangling Distraction? | KQED",
"content": "\u003cp>There is a point midway through Episode 2 of the new Hulu series \u003cem>Pam & Tommy\u003c/em> where Tommy Lee (played by Sebastian Stan) begins arguing with his own penis. The camera pans down to his crotch so the viewer can see close-up, an animatronic, flexing schlong with a talking tip. “We’ve gotta keep this pussy train rolling,” the peen (voiced by Jason Mantzoukas) demands. “Do you hear me?”\u003c/p>\n\u003cp>[aside postid='arts_13908915']This ridiculous display was the natural end point (pun intended) of months and months of TV shows trying to out-dick each other. As anyone with a regular streaming habit is no doubt aware, full-frontal male nudity is suddenly being embraced by the non-network channels like never before. HBO has, of course, been working to advance penile screen time since its earliest days. But in recent years, the channel has noticeably upgraded its wang locomotive from steam engine to bullet train. And it has inspired other channels to follow suit.\u003c/p>\n\u003cp>At the head of the HBO pack is \u003cem>Euphoria\u003c/em>. The show has garnered praise for finally bringing equal opportunity nudity to the TV screen. But, boy oh boy, does it have a tendency to overdo it. You name a type of penis, it’s been on \u003cem>Euphoria\u003c/em>. Old penis, erect penis, locker room penis, toilet penis, drug-dealer-house penis, about-to-get-shot penis, prosthetic penis, real penis. All of the penis, basically.\u003c/p>\n\u003cp>https://twitter.com/enbycoraline/status/1485869994067955713\u003c/p>\n\u003cp>While HBO offers full-frontal male nudity in damn near everything (“Thanks for Steve Zahn’s fake balls in \u003cem>The White Lotus\u003c/em>,” said nobody), nowhere has \u003cem>Euphoria\u003c/em>’s influence been more obvious than in \u003cem>And Just Like That…\u003c/em>, the \u003cem>Sex and the City \u003c/em>reboot. This was a show that almost certainly would have benefited from more nudity in its original iteration, but remained a dong-free zone for the entirety of its six-season run in the 2000s. And yet its 2022 version managed to squeeze two ding-a-lings into a single episode. Neither acted as anything other than a dangling distraction in an otherwise sexless landscape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of which begs the question: How many on-screen penises are too many on-screen penises?\u003c/p>\n\u003cp>Twitter users have certainly reached a consensus with \u003cem>Euphoria\u003c/em>. Sunday after Sunday, it’s clear that a broad swath of the audience thinks the show’s penile limit has been met and exceeded. (Not surprising when there were, infamously, “\u003ca href=\"https://www.menshealth.com/entertainment/a27965066/euphoria-hbo-30-penises-nudity-sex-drugs/\" target=\"_blank\" rel=\"noopener noreferrer\">30 dicks\u003c/a>” featured in the second episode of the first season.)\u003c/p>\n\u003cp>https://twitter.com/lebang_moloi/status/1493117707650281475\u003c/p>\n\u003cp>https://twitter.com/Aj_tbp/status/1490515833612906496\u003c/p>\n\u003cp>https://twitter.com/ruesdirtynose/status/1488001274297597957\u003c/p>\n\u003cp>https://twitter.com/joekeerious/status/1485433317021396995\u003c/p>\n\u003cp>When TV centers and gratuitously lingers on male members, it can feel as jarring for the viewer as receiving unsolicited dick pics. And \u003cem>Euphoria\u003c/em> knows how “terrifying” and “horrifying” dick pics can be. “There are two different types of dick pic,” Rue explained in season one. “Solicited and unsolicited. Solicited makes up about one percent of all dick pics sent and received.” At this point, a lot of women are simply sick to death of looking at penises they didn’t expressly ask to see. Actual studies have been done on this topic.\u003c/p>\n\u003cp>Last year, \u003cem>The Journal of Sex Research\u003c/em> \u003ca href=\"https://www.tandfonline.com/doi/abs/10.1080/00224499.2020.1779171\" target=\"_blank\" rel=\"noopener noreferrer\">published a study\u003c/a> that concluded:\u003c/p>\n\u003cblockquote>\u003cp>In a U.S. sample of 2,045 women of all sexual identities and 298 gay/bisexual men, we found that among those who had ever received a ‘dick pic,’ nearly all (91%) had also received an unsolicited [one]. Women of all sexual identities predominantly experienced negative responses to these unsolicited nude images, with only a minority selecting any positive or neutral/ambivalent reactions.\u003c/p>\u003c/blockquote>\n\u003cp>The other risk of overdoing on-screen peen is the ammunition it gives to so-called men’s rights activists (and a whole mess of other humans) who use the objectification of men to further justify the objectification of women.\u003c/p>\n\u003cfigure id=\"attachment_13909409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909409\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-800x722.png\" alt=\"\" width=\"800\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-800x722.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-1020x921.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-160x144.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-768x693.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘meninist’ meme about objectification.\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the campaigners who see this wave of TV penises and think, “Hey! How can we pressure women on our screens to get \u003cem>even more\u003c/em> naked?”\u003c/p>\n\u003cp>https://twitter.com/KatieLny/status/1490033474698453000\u003c/p>\n\u003cp>There is of course a place for naked male bodies on television. It’s absurd that they’ve been such a rarity until fairly recently. It’s also still true that female actors are naked far more than their male counterparts. (We only need look at the nudity stats in \u003cem>Game of Thrones\u003c/em>. There were only two full-frontal male scenes in its entire eight seasons. For women, the show reached that number in Episode 7 alone.) But there are thoughtful ways of showing audiences everyday nudity that doesn’t turn the whole thing into a gratuitous sideshow.\u003c/p>\n\u003cp>In Season 3 of \u003cem>Succession\u003c/em>, for example, there is \u003ca href=\"https://www.youtube.com/watch?v=H_fV5w5d7IU\" target=\"_blank\" rel=\"noopener noreferrer\">a scene\u003c/a> in which Roman tries to send a dick pic to Gerri but accidentally sends it to his father Logan instead. The mortification Roman feels is enhanced by the fact that the viewer sees the intimate photograph too. We, along with Logan, are seeing something we shouldn’t. And its impact is heightened because it’s something we’ve never seen in \u003cem>Succession\u003c/em> before. Had the series been a parade of unnecessary penises up to that point, it wouldn’t have been the scream-at-the-TV moment it was.\u003c/p>\n\u003cp>[aside postid='arts_13891785']Even a show like \u003cem>Sex/Life\u003c/em>, which doesn’t shy away from regular nudity, has figured out how to use it to advance the plot effectively. In the third episode, for example, Cooper follows his wife’s ex-boyfriend into the showers at the gym, only to be stunned by how generously endowed Brad is. The giant (prosthetic) penis featured in the episode wasn’t there for no reason: it was there as part of a storyline about insecurity in relationships. It was there as a traditional symbol of male virility. And it was there to highlight the physical pressures put on men over something they have no control over. Without seeing what Brad was working with, the viewer couldn’t fully comprehend Cooper’s inner turmoil.\u003c/p>\n\u003cp>The frustrating thing with \u003cem>Euphoria\u003c/em> is that it \u003cem>almost\u003c/em> gets it right all the time. In Season 2’s third episode, we see a flashback to Cal’s high school days. In it, we find out he was in love with his best friend and wrestling teammate, Derek. The moments of nudity they share in the locker room—even exchanging the same bar of soap in the shower—speak to a familiarity and an intimacy that would be hard to convey otherwise. It explains how they reach the point of feeling comfortable enough to dance together and make out in a gay bar despite being submerged in a world of toxic masculinity. Had the nudity been left at that, it would have been a powerful presence in their love story. Instead, we were also subjected to other, irrelevant penises in the shower, and lingering shots of floating underwater penis while Cal and Derek are skinny dipping. These moments undercut the power of their nude locker room bonding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All of which is to say that full-frontal male nudity certainly has a valuable place on TV. Not just for the sake of realism in intimate scenes, but also in the service of specific, emotional plot points. But—like a flasher on a train—just because you \u003cem>can\u003c/em> show penis, doesn’t necessarily mean you \u003cem>should\u003c/em> show penis. In the rush to embrace equal opportunity nudity, some TV series have diminished their own value because of an inability to recognize that basic principle.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a point midway through Episode 2 of the new Hulu series \u003cem>Pam & Tommy\u003c/em> where Tommy Lee (played by Sebastian Stan) begins arguing with his own penis. The camera pans down to his crotch so the viewer can see close-up, an animatronic, flexing schlong with a talking tip. “We’ve gotta keep this pussy train rolling,” the peen (voiced by Jason Mantzoukas) demands. “Do you hear me?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This ridiculous display was the natural end point (pun intended) of months and months of TV shows trying to out-dick each other. As anyone with a regular streaming habit is no doubt aware, full-frontal male nudity is suddenly being embraced by the non-network channels like never before. HBO has, of course, been working to advance penile screen time since its earliest days. But in recent years, the channel has noticeably upgraded its wang locomotive from steam engine to bullet train. And it has inspired other channels to follow suit.\u003c/p>\n\u003cp>At the head of the HBO pack is \u003cem>Euphoria\u003c/em>. The show has garnered praise for finally bringing equal opportunity nudity to the TV screen. But, boy oh boy, does it have a tendency to overdo it. You name a type of penis, it’s been on \u003cem>Euphoria\u003c/em>. Old penis, erect penis, locker room penis, toilet penis, drug-dealer-house penis, about-to-get-shot penis, prosthetic penis, real penis. All of the penis, basically.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While HBO offers full-frontal male nudity in damn near everything (“Thanks for Steve Zahn’s fake balls in \u003cem>The White Lotus\u003c/em>,” said nobody), nowhere has \u003cem>Euphoria\u003c/em>’s influence been more obvious than in \u003cem>And Just Like That…\u003c/em>, the \u003cem>Sex and the City \u003c/em>reboot. This was a show that almost certainly would have benefited from more nudity in its original iteration, but remained a dong-free zone for the entirety of its six-season run in the 2000s. And yet its 2022 version managed to squeeze two ding-a-lings into a single episode. Neither acted as anything other than a dangling distraction in an otherwise sexless landscape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of which begs the question: How many on-screen penises are too many on-screen penises?\u003c/p>\n\u003cp>Twitter users have certainly reached a consensus with \u003cem>Euphoria\u003c/em>. Sunday after Sunday, it’s clear that a broad swath of the audience thinks the show’s penile limit has been met and exceeded. (Not surprising when there were, infamously, “\u003ca href=\"https://www.menshealth.com/entertainment/a27965066/euphoria-hbo-30-penises-nudity-sex-drugs/\" target=\"_blank\" rel=\"noopener noreferrer\">30 dicks\u003c/a>” featured in the second episode of the first season.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>When TV centers and gratuitously lingers on male members, it can feel as jarring for the viewer as receiving unsolicited dick pics. And \u003cem>Euphoria\u003c/em> knows how “terrifying” and “horrifying” dick pics can be. “There are two different types of dick pic,” Rue explained in season one. “Solicited and unsolicited. Solicited makes up about one percent of all dick pics sent and received.” At this point, a lot of women are simply sick to death of looking at penises they didn’t expressly ask to see. Actual studies have been done on this topic.\u003c/p>\n\u003cp>Last year, \u003cem>The Journal of Sex Research\u003c/em> \u003ca href=\"https://www.tandfonline.com/doi/abs/10.1080/00224499.2020.1779171\" target=\"_blank\" rel=\"noopener noreferrer\">published a study\u003c/a> that concluded:\u003c/p>\n\u003cblockquote>\u003cp>In a U.S. sample of 2,045 women of all sexual identities and 298 gay/bisexual men, we found that among those who had ever received a ‘dick pic,’ nearly all (91%) had also received an unsolicited [one]. Women of all sexual identities predominantly experienced negative responses to these unsolicited nude images, with only a minority selecting any positive or neutral/ambivalent reactions.\u003c/p>\u003c/blockquote>\n\u003cp>The other risk of overdoing on-screen peen is the ammunition it gives to so-called men’s rights activists (and a whole mess of other humans) who use the objectification of men to further justify the objectification of women.\u003c/p>\n\u003cfigure id=\"attachment_13909409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909409\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-800x722.png\" alt=\"\" width=\"800\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-800x722.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-1020x921.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-160x144.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM-768x693.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Screen-Shot-2022-02-14-at-12.37.33-PM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘meninist’ meme about objectification.\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the campaigners who see this wave of TV penises and think, “Hey! How can we pressure women on our screens to get \u003cem>even more\u003c/em> naked?”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There is of course a place for naked male bodies on television. It’s absurd that they’ve been such a rarity until fairly recently. It’s also still true that female actors are naked far more than their male counterparts. (We only need look at the nudity stats in \u003cem>Game of Thrones\u003c/em>. There were only two full-frontal male scenes in its entire eight seasons. For women, the show reached that number in Episode 7 alone.) But there are thoughtful ways of showing audiences everyday nudity that doesn’t turn the whole thing into a gratuitous sideshow.\u003c/p>\n\u003cp>In Season 3 of \u003cem>Succession\u003c/em>, for example, there is \u003ca href=\"https://www.youtube.com/watch?v=H_fV5w5d7IU\" target=\"_blank\" rel=\"noopener noreferrer\">a scene\u003c/a> in which Roman tries to send a dick pic to Gerri but accidentally sends it to his father Logan instead. The mortification Roman feels is enhanced by the fact that the viewer sees the intimate photograph too. We, along with Logan, are seeing something we shouldn’t. And its impact is heightened because it’s something we’ve never seen in \u003cem>Succession\u003c/em> before. Had the series been a parade of unnecessary penises up to that point, it wouldn’t have been the scream-at-the-TV moment it was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even a show like \u003cem>Sex/Life\u003c/em>, which doesn’t shy away from regular nudity, has figured out how to use it to advance the plot effectively. In the third episode, for example, Cooper follows his wife’s ex-boyfriend into the showers at the gym, only to be stunned by how generously endowed Brad is. The giant (prosthetic) penis featured in the episode wasn’t there for no reason: it was there as part of a storyline about insecurity in relationships. It was there as a traditional symbol of male virility. And it was there to highlight the physical pressures put on men over something they have no control over. Without seeing what Brad was working with, the viewer couldn’t fully comprehend Cooper’s inner turmoil.\u003c/p>\n\u003cp>The frustrating thing with \u003cem>Euphoria\u003c/em> is that it \u003cem>almost\u003c/em> gets it right all the time. In Season 2’s third episode, we see a flashback to Cal’s high school days. In it, we find out he was in love with his best friend and wrestling teammate, Derek. The moments of nudity they share in the locker room—even exchanging the same bar of soap in the shower—speak to a familiarity and an intimacy that would be hard to convey otherwise. It explains how they reach the point of feeling comfortable enough to dance together and make out in a gay bar despite being submerged in a world of toxic masculinity. Had the nudity been left at that, it would have been a powerful presence in their love story. Instead, we were also subjected to other, irrelevant penises in the shower, and lingering shots of floating underwater penis while Cal and Derek are skinny dipping. These moments undercut the power of their nude locker room bonding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of which is to say that full-frontal male nudity certainly has a valuable place on TV. Not just for the sake of realism in intimate scenes, but also in the service of specific, emotional plot points. But—like a flasher on a train—just because you \u003cem>can\u003c/em> show penis, doesn’t necessarily mean you \u003cem>should\u003c/em> show penis. In the rush to embrace equal opportunity nudity, some TV series have diminished their own value because of an inability to recognize that basic principle.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Colman Domingo met the love of his life in the Bay Area. Back in 2005, while starring in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4626728\" target=\"_blank\" rel=\"noopener noreferrer\">a Berkeley Rep production of \u003cem>The People’s Temple\u003c/em>\u003c/a>, he and his husband Raúl first locked eyes inside a Berkeley Walgreens. Domingo was on the phone with someone, and Raúl got dragged away by a friend before the two could strike up a conversation. This being the aughts, however, the couple later located one another (and arranged to have their first date in San Francisco) via Craigslist’s Missed Connections. Meet cutes don’t get more Bay Area than that.\u003c/p>\n\u003cp>Needless to say, Colman Domingo doesn’t at all mind spending this Valentine’s Day back in the city. And this time, he wants you to join him. The much-lauded actor—as famous for his TV roles in \u003ca href=\"https://www.youtube.com/watch?v=xuC45mIq4kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Euphoria\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=TZenq94Gkyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fear the Walking Dead\u003c/em>\u003c/a>, as he is for his movie parts in the likes of \u003ca href=\"https://www.youtube.com/watch?v=24KbaKlCDDI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zola\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=x6t7vVTxaic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=2UJc5yef4fc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ma Rainey’s Black Bottom\u003c/em>\u003c/a>—will be spending Feb. 14 on stage at the Strand Theater. And though Domingo’s theater pedigree is impressive, for once he won’t be there to act. Instead, the former Mission District resident will be in conversation with his best friend, Sean San José—artistic director of the \u003ca href=\"http://magictheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Theatre\u003c/a>. Domingo is also on Magic’s board of directors, and conceived this event to raise money and publicity for the organization.\u003c/p>\n\u003cp>KQED Arts & Culture caught up with Domingo on the phone a week before the big event.\u003c/p>\n\u003cp>\u003cstrong>What was the idea behind this Valentine’s Day event?\u003c/strong>\u003c/p>\n\u003cp>I believe board members should be responsible to the theater in very specific ways that call on their superpowers. So I thought “What is the thing that I can do to raise funds, to create some buzz, to introduce people to Sean and to his leadership?” I said “Why don’t we do a conversation?” If it brings fans from the \u003cem>Fear the Walking Dead\u003c/em> universe or from \u003cem>Euphoria\u003c/em> to the Magic Theater, so be it. It’ll be wonderful. For me, it’s about moving along others’ work. Valentine’s Day just seemed like the time to do it. It’s about love. Love of the theater, love for community and bringing us together. It’s my love for San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You lived in San Francisco when you were starting out, didn’t you? \u003c/strong>\u003c/p>\n\u003cp>I lived there between 1991 and 2001. I moved there [from Philadelphia] to become an actor. I really owe a lot to my Bay Area years because I was in my 20s—that’s when you become who you’re going to become. My closest friends and comrades who I still create with are there. Like Sean, who I met at \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Rep\u003c/a> while we were doing youth theater. We did a touring production of \u003cem>The Yellow Boat\u003c/em> and he became my best friend. To this day, we’re on the phone at least a couple of times a week. I have deep roots in the Bay Area. San Francisco is truly one of my artistic homes. It’s never left me.\u003c/p>\n\u003cp>\u003cstrong>Is there a stage role from your time living here that you look back as a turning point in your career?\u003c/strong>\u003c/p>\n\u003cp>One was \u003ca href=\"https://www.paloaltoonline.com/weekly/morgue/listings/1997_Sep_12.3RDART12.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blues For an Alabama Sky\u003c/em>\u003c/a> [at TheatreWorks in 1997]. I got so much attention for that and people started to understand what I did. That was a turning point. And I came back to Berkeley Rep to do \u003ca href=\"https://www.kqed.org/arts/11742/passing_strange\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Passing Strange\u003c/em> in 2006\u003c/a>, and it was the little show that changed my life. It offered me my Broadway debut. I had lost my mother a month before we started rehearsals and it was like a calling that I had to be back in the Bay Area. It’s where I did a lot of my healing … and it changed my entire career.\u003c/p>\n\u003cp>\u003cstrong>I’d like to talk about your role in \u003cem>Euphoria\u003c/em>. You play Ali, the sponsor of 17-year-old Rue (played by Zendaya) who’s struggling with drug addiction. Whenever you two are together, it’s like a battle between the disillusionment of youth and the wisdom that comes with age and experience. \u003c/strong>\u003c/p>\n\u003cp>That’s a great way to put it. That’s exactly it. I think there’s something about Ali that [\u003cem>Euphoria\u003c/em> creator] Sam [Levinson] is very intentional about. Ali is an anchor. Because the narrator for the show, Rue, cannot be depended on. You can’t depend on her because she is struggling.\u003c/p>\n\u003cp>\u003cstrong>I think the special episode you and Zendaya did between Seasons 1 and 2—just the two of you talking in a diner—was probably the most powerful piece of television from 2020. \u003c/strong>\u003c/p>\n\u003cp>When we were about to start Season 2 of \u003cem>Euphoria\u003c/em>, we had a table read, it was wonderful, then the pandemic happened and we were shut down. In the second season, there were fragments of that conversation with Zendaya spread throughout the season. And so Sam had the brilliant idea of actually making that a more intimate experience and not spreading it out. I think honestly, the reason that episode is so powerful is because it was the end of the first year of this pandemic. This script felt like a prayer, it felt like a meditation on the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=skQMztq7oRI&t=50s\u003c/p>\n\u003cp>\u003cstrong>How did the two of you prepare for such raw scenes? How do you make it so real?\u003c/strong>\u003c/p>\n\u003cp>I put my entire soul into that because it was touching on everything that I care about. Revolutions, and inhumanity, and people being able to come back into society, and the disease of addiction which takes so many forms. So I put myself through at least 120 hours of rehearsal. I come from theater, so a 40-hour rehearsal week is not anything for me. I decided that the work needed that attention. I rehearsed it in a way to be available. I wanted to understand not only the characters, but the moments and the things that they’re wrestling with. I didn’t want that to look like work. I didn’t want you to see the work. I wanted it to just be breath, and living, and experiencing. And I think Zendaya put herself through the same process. I look at that [episode] and I recognize it as some of my best work.\u003c/p>\n\u003cp>\u003cstrong>Do you find that \u003cem>Euphoria\u003c/em> is what people most recognize you for now?\u003c/strong>\u003c/p>\n\u003cp>Right now, it’s \u003cem>Euphoria\u003c/em>—it seems like \u003cem>Euphoria\u003c/em> has taken on a mind of its own. But my fan base is all walks of life. Usually these days, I can tell who my fan base is just by looking at them. I like to guess where they know me from. Usually, you can tell who the \u003cem>Euphoria\u003c/em> base is because they all look like they’re in \u003cem>Euphoria\u003c/em>! Black people know me from every historical Black film I’ve done. But I also have a queer fanbase that knows me from when I did sketch comedy on \u003cem>The Big Gay Sketch Show\u003c/em> with Kate McKinnon. I also have a rabid, voracious, \u003cem>Walking Dead\u003c/em> universe fan base.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbwEfU4Cn80\u003c/p>\n\u003cp>\u003cstrong>Do the \u003cem>Fear the Walking Dead\u003c/em> fans hate you since your character, Strand, went full villain in Season 7?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah, they completely hate me (laughs). But I love it because a good show should be polarizing. People are complicated. I enjoy that he’s not just … to the middle.\u003c/p>\n\u003cp>\u003cstrong>In the first season of \u003cem>Fear the Walking Dead\u003c/em>, Strand was trying to help a teen addict survive the apocalypse. I can’t help but see parallels of that role in what Ali is doing in \u003cem>Euphoria\u003c/em> now with Rue.\u003c/strong>\u003c/p>\n\u003cp>It’s funny. I was such a nerdy kid. I wasn’t a troubled teen. In my family I was the youngest of three. I watched my older siblings run the streets and be a little wilder and I think my responsibility in the family was to be a good boy and not be a problem. But I could see the problem because I’m an ardent watcher of people. I think my superpower is being an empath and understanding people, and understanding things without judgment. And maybe that’s why I’m called on to play these roles because there’s something about my own story as Colman that I can bring to these characters.\u003c/p>\n\u003cp>\u003cstrong>Since you’re going to be in the Bay for Valentine’s, will you be visiting that Berkeley Walgreens where you met your husband?\u003c/strong>\u003c/p>\n\u003cp>I am bringing my husband with me! The funny thing is, it’s now not a Walgreens. It’s now a Target. But we’re making this a five-day event. We’re taking a long drive, we’ll stop at Big Sur, then on up to the Bay, get in a little early, hang out with a couple of friends, and stop by \u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Conservatory Theater\u003c/a>, which is where I got my start. That’s the first place I ever did any show. They’re actually doing my play \u003cem>\u003ca href=\"https://www.concordtheatricals.com/p/60374/dot\" target=\"_blank\" rel=\"noopener noreferrer\">Dot\u003c/a>.\u003c/em> So we’ll check in, look at the set, probably meet the cast. I used to live on 22nd and Valencia right above Valencia Cyclery. So I’m sure I’ll stop by and look up at the window. I’m a softie in that way.\u003c/p>\n\u003cp>\u003cstrong>And what food will you be running towards the fastest?\u003c/strong>\u003c/p>\n\u003cp>Oh my god! \u003ca href=\"https://slanteddoorgroup.com/sanfrancisco\" target=\"_blank\" rel=\"noopener noreferrer\">The Slanted Door\u003c/a>. It’s one of my favorite places. And I want to go to \u003ca href=\"https://tartinebakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tartine\u003c/a>! Also, \u003ca href=\"https://sfpanchovilla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Villa\u003c/a>. They always had the best burritos. I have found that there is nowhere else in the world that makes a good burrito besides the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Colman Domingo will be in conversation with Sean San José at the \u003ca href=\"https://www.act-sf.org/your-visit/our-venues/the-strand-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Strand Theater\u003c/a> on Monday, Feb. 14 at 8pm. \u003ca href=\"https://app.mobilecause.com/e/rFJgow?vid=ptn4m\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The star of ‘Euphoria’ and ‘Zola’ talks about his love for the Bay and his upcoming Strand Theater appearance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Colman Domingo met the love of his life in the Bay Area. Back in 2005, while starring in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4626728\" target=\"_blank\" rel=\"noopener noreferrer\">a Berkeley Rep production of \u003cem>The People’s Temple\u003c/em>\u003c/a>, he and his husband Raúl first locked eyes inside a Berkeley Walgreens. Domingo was on the phone with someone, and Raúl got dragged away by a friend before the two could strike up a conversation. This being the aughts, however, the couple later located one another (and arranged to have their first date in San Francisco) via Craigslist’s Missed Connections. Meet cutes don’t get more Bay Area than that.\u003c/p>\n\u003cp>Needless to say, Colman Domingo doesn’t at all mind spending this Valentine’s Day back in the city. And this time, he wants you to join him. The much-lauded actor—as famous for his TV roles in \u003ca href=\"https://www.youtube.com/watch?v=xuC45mIq4kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Euphoria\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=TZenq94Gkyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fear the Walking Dead\u003c/em>\u003c/a>, as he is for his movie parts in the likes of \u003ca href=\"https://www.youtube.com/watch?v=24KbaKlCDDI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zola\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=x6t7vVTxaic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=2UJc5yef4fc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ma Rainey’s Black Bottom\u003c/em>\u003c/a>—will be spending Feb. 14 on stage at the Strand Theater. And though Domingo’s theater pedigree is impressive, for once he won’t be there to act. Instead, the former Mission District resident will be in conversation with his best friend, Sean San José—artistic director of the \u003ca href=\"http://magictheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Theatre\u003c/a>. Domingo is also on Magic’s board of directors, and conceived this event to raise money and publicity for the organization.\u003c/p>\n\u003cp>KQED Arts & Culture caught up with Domingo on the phone a week before the big event.\u003c/p>\n\u003cp>\u003cstrong>What was the idea behind this Valentine’s Day event?\u003c/strong>\u003c/p>\n\u003cp>I believe board members should be responsible to the theater in very specific ways that call on their superpowers. So I thought “What is the thing that I can do to raise funds, to create some buzz, to introduce people to Sean and to his leadership?” I said “Why don’t we do a conversation?” If it brings fans from the \u003cem>Fear the Walking Dead\u003c/em> universe or from \u003cem>Euphoria\u003c/em> to the Magic Theater, so be it. It’ll be wonderful. For me, it’s about moving along others’ work. Valentine’s Day just seemed like the time to do it. It’s about love. Love of the theater, love for community and bringing us together. It’s my love for San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You lived in San Francisco when you were starting out, didn’t you? \u003c/strong>\u003c/p>\n\u003cp>I lived there between 1991 and 2001. I moved there [from Philadelphia] to become an actor. I really owe a lot to my Bay Area years because I was in my 20s—that’s when you become who you’re going to become. My closest friends and comrades who I still create with are there. Like Sean, who I met at \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Rep\u003c/a> while we were doing youth theater. We did a touring production of \u003cem>The Yellow Boat\u003c/em> and he became my best friend. To this day, we’re on the phone at least a couple of times a week. I have deep roots in the Bay Area. San Francisco is truly one of my artistic homes. It’s never left me.\u003c/p>\n\u003cp>\u003cstrong>Is there a stage role from your time living here that you look back as a turning point in your career?\u003c/strong>\u003c/p>\n\u003cp>One was \u003ca href=\"https://www.paloaltoonline.com/weekly/morgue/listings/1997_Sep_12.3RDART12.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blues For an Alabama Sky\u003c/em>\u003c/a> [at TheatreWorks in 1997]. I got so much attention for that and people started to understand what I did. That was a turning point. And I came back to Berkeley Rep to do \u003ca href=\"https://www.kqed.org/arts/11742/passing_strange\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Passing Strange\u003c/em> in 2006\u003c/a>, and it was the little show that changed my life. It offered me my Broadway debut. I had lost my mother a month before we started rehearsals and it was like a calling that I had to be back in the Bay Area. It’s where I did a lot of my healing … and it changed my entire career.\u003c/p>\n\u003cp>\u003cstrong>I’d like to talk about your role in \u003cem>Euphoria\u003c/em>. You play Ali, the sponsor of 17-year-old Rue (played by Zendaya) who’s struggling with drug addiction. Whenever you two are together, it’s like a battle between the disillusionment of youth and the wisdom that comes with age and experience. \u003c/strong>\u003c/p>\n\u003cp>That’s a great way to put it. That’s exactly it. I think there’s something about Ali that [\u003cem>Euphoria\u003c/em> creator] Sam [Levinson] is very intentional about. Ali is an anchor. Because the narrator for the show, Rue, cannot be depended on. You can’t depend on her because she is struggling.\u003c/p>\n\u003cp>\u003cstrong>I think the special episode you and Zendaya did between Seasons 1 and 2—just the two of you talking in a diner—was probably the most powerful piece of television from 2020. \u003c/strong>\u003c/p>\n\u003cp>When we were about to start Season 2 of \u003cem>Euphoria\u003c/em>, we had a table read, it was wonderful, then the pandemic happened and we were shut down. In the second season, there were fragments of that conversation with Zendaya spread throughout the season. And so Sam had the brilliant idea of actually making that a more intimate experience and not spreading it out. I think honestly, the reason that episode is so powerful is because it was the end of the first year of this pandemic. This script felt like a prayer, it felt like a meditation on the year.\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/skQMztq7oRI'\n title='//www.youtube.com/embed/skQMztq7oRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How did the two of you prepare for such raw scenes? How do you make it so real?\u003c/strong>\u003c/p>\n\u003cp>I put my entire soul into that because it was touching on everything that I care about. Revolutions, and inhumanity, and people being able to come back into society, and the disease of addiction which takes so many forms. So I put myself through at least 120 hours of rehearsal. I come from theater, so a 40-hour rehearsal week is not anything for me. I decided that the work needed that attention. I rehearsed it in a way to be available. I wanted to understand not only the characters, but the moments and the things that they’re wrestling with. I didn’t want that to look like work. I didn’t want you to see the work. I wanted it to just be breath, and living, and experiencing. And I think Zendaya put herself through the same process. I look at that [episode] and I recognize it as some of my best work.\u003c/p>\n\u003cp>\u003cstrong>Do you find that \u003cem>Euphoria\u003c/em> is what people most recognize you for now?\u003c/strong>\u003c/p>\n\u003cp>Right now, it’s \u003cem>Euphoria\u003c/em>—it seems like \u003cem>Euphoria\u003c/em> has taken on a mind of its own. But my fan base is all walks of life. Usually these days, I can tell who my fan base is just by looking at them. I like to guess where they know me from. Usually, you can tell who the \u003cem>Euphoria\u003c/em> base is because they all look like they’re in \u003cem>Euphoria\u003c/em>! Black people know me from every historical Black film I’ve done. But I also have a queer fanbase that knows me from when I did sketch comedy on \u003cem>The Big Gay Sketch Show\u003c/em> with Kate McKinnon. I also have a rabid, voracious, \u003cem>Walking Dead\u003c/em> universe fan base.\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/LbwEfU4Cn80'\n title='//www.youtube.com/embed/LbwEfU4Cn80'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do the \u003cem>Fear the Walking Dead\u003c/em> fans hate you since your character, Strand, went full villain in Season 7?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah, they completely hate me (laughs). But I love it because a good show should be polarizing. People are complicated. I enjoy that he’s not just … to the middle.\u003c/p>\n\u003cp>\u003cstrong>In the first season of \u003cem>Fear the Walking Dead\u003c/em>, Strand was trying to help a teen addict survive the apocalypse. I can’t help but see parallels of that role in what Ali is doing in \u003cem>Euphoria\u003c/em> now with Rue.\u003c/strong>\u003c/p>\n\u003cp>It’s funny. I was such a nerdy kid. I wasn’t a troubled teen. In my family I was the youngest of three. I watched my older siblings run the streets and be a little wilder and I think my responsibility in the family was to be a good boy and not be a problem. But I could see the problem because I’m an ardent watcher of people. I think my superpower is being an empath and understanding people, and understanding things without judgment. And maybe that’s why I’m called on to play these roles because there’s something about my own story as Colman that I can bring to these characters.\u003c/p>\n\u003cp>\u003cstrong>Since you’re going to be in the Bay for Valentine’s, will you be visiting that Berkeley Walgreens where you met your husband?\u003c/strong>\u003c/p>\n\u003cp>I am bringing my husband with me! The funny thing is, it’s now not a Walgreens. It’s now a Target. But we’re making this a five-day event. We’re taking a long drive, we’ll stop at Big Sur, then on up to the Bay, get in a little early, hang out with a couple of friends, and stop by \u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Conservatory Theater\u003c/a>, which is where I got my start. That’s the first place I ever did any show. They’re actually doing my play \u003cem>\u003ca href=\"https://www.concordtheatricals.com/p/60374/dot\" target=\"_blank\" rel=\"noopener noreferrer\">Dot\u003c/a>.\u003c/em> So we’ll check in, look at the set, probably meet the cast. I used to live on 22nd and Valencia right above Valencia Cyclery. So I’m sure I’ll stop by and look up at the window. I’m a softie in that way.\u003c/p>\n\u003cp>\u003cstrong>And what food will you be running towards the fastest?\u003c/strong>\u003c/p>\n\u003cp>Oh my god! \u003ca href=\"https://slanteddoorgroup.com/sanfrancisco\" target=\"_blank\" rel=\"noopener noreferrer\">The Slanted Door\u003c/a>. It’s one of my favorite places. And I want to go to \u003ca href=\"https://tartinebakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tartine\u003c/a>! Also, \u003ca href=\"https://sfpanchovilla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Villa\u003c/a>. They always had the best burritos. I have found that there is nowhere else in the world that makes a good burrito besides the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Colman Domingo will be in conversation with Sean San José at the \u003ca href=\"https://www.act-sf.org/your-visit/our-venues/the-strand-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Strand Theater\u003c/a> on Monday, Feb. 14 at 8pm. \u003ca href=\"https://app.mobilecause.com/e/rFJgow?vid=ptn4m\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "HBO's 'Euphoria' is More Than a Parent's Worst Nightmare. It's a Creative Triumph",
"headTitle": "HBO’s ‘Euphoria’ is More Than a Parent’s Worst Nightmare. It’s a Creative Triumph | KQED",
"content": "\u003cp>Let’s be honest: \u003cem>Euphoria\u003c/em> is a parent’s worst nightmare.\u003c/p>\n\u003cp>Centered on a group of high school-age friends—each with their own problems handling an excess of drugs, drink and sex—HBO’s drama has drawn some fans for its unbridled party scenes and horrified some grownups with its lineup of young characters who always seem to make the worst choices.\u003c/p>\n\u003cp>But creator/executive producer Sam Levinson has built a storytelling style that transcends the titillation of its surface-level story, finding new ways to stitch together the tales of characters seemingly trapped in a web of tragedies and missteps.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JdwZwrs8Qt0\u003c/p>\n\u003ch3>An ensemble story focused on pain\u003c/h3>\n\u003cp>That daring, creative vision only deepens now, as the show’s long-delayed second season takes flight on HBO—a pause only slightly alleviated by two special episodes dropped since the first season debuted in mid-2019. Though star Zendaya gets most of the attention playing Rue Bennett, a teen struggling with substance use disorder, the second season’s episodes are truly an ensemble affair—opening with the harrowing backstory of Rue’s drug dealing friend, Fezco, played by a laconic Angus Cloud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An explosive series of flashbacks announces the start of the second season, depicting how Fezco’s grandmother, a ruthless drug dealer herself, took over raising him after shooting his father in the hips at the back of a seedy strip club. (Yes, the guy’s, um, \u003cem>excited\u003c/em> private parts were shown; another way \u003cem>Euphoria\u003c/em> shakes up expectations is by showing male nudity in ways even other explicit series do not.)\u003c/p>\n\u003cp>[aside postid='pop_95643']Much of this episode feels inspired by director Martin Scorsese’s style in crime epics like \u003cem>Goodfellas—\u003c/em>perhaps because of the liberal use of classic rock hits, sweeping camera angles, quick cuts, gangster activities or the appearance of \u003cem>Sopranos\u003c/em> co-star Kathrine Narducci as Fezco’s hardcore, gun-toting grandmother.\u003c/p>\n\u003cp>But as the ginger-haired drug dealer’s story reaches the modern day—and we see Fezco negotiating a tense drug deal with suppliers who demand he and his friends strip naked to prove they aren’t informants—Levinson’s ability to make audiences feel what the characters are experiencing is masterful and discomfiting, all at once.\u003c/p>\n\u003cp>The characters bring a tangle of storylines to the second season. Rue is trying desperately to convince most of her family and friends that she is sober, though she most certainly isn’t. Chief among those she’s lying to is young, transgender girl Jules Vaughn (played by Hunter Schafer); the two had planned to run away together at the end of last season until Rue balked. In the second season, they are trying to build a romantic relationship, but Rue’s barely-hidden addictions are an unspoken impediment.\u003c/p>\n\u003cfigure id=\"attachment_13907941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13907941 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-800x600.jpe\" alt=\"A girl with sharp facial features, blonde hair framing her face, leans forward with her chin resting on her hand, jaw clenched.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80.jpe 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunter Schafer plays Jules on HBO’s ‘Euphoria.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Jacob Elordi’s toxic football star Nate is caught between on-again, off-again girlfriend Maddy Perez (Alexa Demie) and troubled blonde knockout Cassie Howard (Sydney Sweeney). Turns out, Nate’s terrible behavior is fueled by anger against his philandering dad Cal, played by \u003cem>Grey’s Anatomy\u003c/em> alum Eric Dane. And Cal’s story as a tortured man struggling with his sexuality is given a breathtaking backstory in this season’s third episode that will make you rethink a character depicted as a towering jerk.\u003c/p>\n\u003cp>These stories and several more are told with a gutsy, explicit flair, forcing the viewer to face the brutal reality of each character’s pain, along with their poignant emotions. In particular, Rue’s struggle to deal with her desire to get high—culminating in a tour de force story focused on her character in episode five—gets at the debilitating reality of addiction in a way few other shows match.\u003c/p>\n\u003ch3>Depictions which bring a warning\u003c/h3>\n\u003cp>Watching this can be so unsettling that Zendaya issued a warning on social media before the show’s return Sunday, noting that \u003cem>Euphoria \u003c/em>is for mature audiences and “deals with subject matter that can be triggering and difficult to watch.”\u003c/p>\n\u003cp>https://twitter.com/Zendaya/status/1480318350169235456\u003c/p>\n\u003cp>It’s tempting to turn these stories and characters into parables about the issues bedeviling Generation Z. And scolds like the Parents’ Television Council \u003ca href=\"https://www.parentstv.org/press-releases/ptc-warns-parents-about-return-of-hbos-teen-themed-euphoria\" target=\"_blank\" rel=\"noopener noreferrer\">warn about the show’s explicit content\u003c/a> without noting it’s a series aimed at adults about youthful characters behaving terribly, showing the often-debilitating consequences they pay for the awful decisions they make.\u003c/p>\n\u003cp>[aside postid='arts_13891785']But Levinson’s work in this second season makes the case that viewers are watching the lives of a coterie of very specific people mired in their own dysfunction and damage, each self-medicating in different ways, toward an almost universally tragic and emotional result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That \u003cem>Euphoria\u003c/em> somehow manages to make you keep caring about often-unlikeable folks on such brutal and dark journeys, is a testament to the uniquely creative voice distilled in each episode. It is thrilling, daring, disquieting and compelling—a triumph at a time when truly unique storytelling remains unsettlingly rare.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=HBO%27s+%27Euphoria%27+is+more+than+a+parent%27s+worst+nightmare.+It%27s+a+creative+triumph&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s be honest: \u003cem>Euphoria\u003c/em> is a parent’s worst nightmare.\u003c/p>\n\u003cp>Centered on a group of high school-age friends—each with their own problems handling an excess of drugs, drink and sex—HBO’s drama has drawn some fans for its unbridled party scenes and horrified some grownups with its lineup of young characters who always seem to make the worst choices.\u003c/p>\n\u003cp>But creator/executive producer Sam Levinson has built a storytelling style that transcends the titillation of its surface-level story, finding new ways to stitch together the tales of characters seemingly trapped in a web of tragedies and missteps.\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/JdwZwrs8Qt0'\n title='//www.youtube.com/embed/JdwZwrs8Qt0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>An ensemble story focused on pain\u003c/h3>\n\u003cp>That daring, creative vision only deepens now, as the show’s long-delayed second season takes flight on HBO—a pause only slightly alleviated by two special episodes dropped since the first season debuted in mid-2019. Though star Zendaya gets most of the attention playing Rue Bennett, a teen struggling with substance use disorder, the second season’s episodes are truly an ensemble affair—opening with the harrowing backstory of Rue’s drug dealing friend, Fezco, played by a laconic Angus Cloud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of this episode feels inspired by director Martin Scorsese’s style in crime epics like \u003cem>Goodfellas—\u003c/em>perhaps because of the liberal use of classic rock hits, sweeping camera angles, quick cuts, gangster activities or the appearance of \u003cem>Sopranos\u003c/em> co-star Kathrine Narducci as Fezco’s hardcore, gun-toting grandmother.\u003c/p>\n\u003cp>But as the ginger-haired drug dealer’s story reaches the modern day—and we see Fezco negotiating a tense drug deal with suppliers who demand he and his friends strip naked to prove they aren’t informants—Levinson’s ability to make audiences feel what the characters are experiencing is masterful and discomfiting, all at once.\u003c/p>\n\u003cp>The characters bring a tangle of storylines to the second season. Rue is trying desperately to convince most of her family and friends that she is sober, though she most certainly isn’t. Chief among those she’s lying to is young, transgender girl Jules Vaughn (played by Hunter Schafer); the two had planned to run away together at the end of last season until Rue balked. In the second season, they are trying to build a romantic relationship, but Rue’s barely-hidden addictions are an unspoken impediment.\u003c/p>\n\u003cfigure id=\"attachment_13907941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13907941 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-800x600.jpe\" alt=\"A girl with sharp facial features, blonde hair framing her face, leans forward with her chin resting on her hand, jaw clenched.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/euphoria-jules-2f627f4a809df1317ded5cbaf62ed3fa5f28fc80.jpe 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunter Schafer plays Jules on HBO’s ‘Euphoria.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Jacob Elordi’s toxic football star Nate is caught between on-again, off-again girlfriend Maddy Perez (Alexa Demie) and troubled blonde knockout Cassie Howard (Sydney Sweeney). Turns out, Nate’s terrible behavior is fueled by anger against his philandering dad Cal, played by \u003cem>Grey’s Anatomy\u003c/em> alum Eric Dane. And Cal’s story as a tortured man struggling with his sexuality is given a breathtaking backstory in this season’s third episode that will make you rethink a character depicted as a towering jerk.\u003c/p>\n\u003cp>These stories and several more are told with a gutsy, explicit flair, forcing the viewer to face the brutal reality of each character’s pain, along with their poignant emotions. In particular, Rue’s struggle to deal with her desire to get high—culminating in a tour de force story focused on her character in episode five—gets at the debilitating reality of addiction in a way few other shows match.\u003c/p>\n\u003ch3>Depictions which bring a warning\u003c/h3>\n\u003cp>Watching this can be so unsettling that Zendaya issued a warning on social media before the show’s return Sunday, noting that \u003cem>Euphoria \u003c/em>is for mature audiences and “deals with subject matter that can be triggering and difficult to watch.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Beyond her own achievements, Coel’s work was the best example of how the high-quality TV space saw some much-needed ethnic diversity last year, especially among female performers. Jurnee Smollett, Aunjanue Ellis and Wunmi Mosaku on HBO’s\u003cem> Lovecraft Country\u003c/em>. Adjoa Andoh, who played the smart, sharp-tongued Lady Danbury on Netflix’s hit drama, \u003cem>Bridgerton\u003c/em>. Emmy winner Zendaya, in the Christmas episode of HBO’s \u003cem>Euphoria\u003c/em>. Uzo Aduba as Shirley Chisholm on FX’s miniseries \u003cem>Mrs. America.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. [aside postid='arts_13884214']\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\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=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\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=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"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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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"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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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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},
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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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"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": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"meta": {
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
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