Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’
A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No)
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"title": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’",
"headTitle": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’ | KQED",
"content": "\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>[aside postid='arts_13930807']Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQfMbSe7F2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>[aside postid='arts_13930502']This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>[aside postid='arts_13883486']I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\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>\n\u003cp>\u003cem>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"headline": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\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/eQfMbSe7F2g'\n title='//www.youtube.com/embed/eQfMbSe7F2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\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>\n\u003cp>\u003cem>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No)",
"headTitle": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No) | KQED",
"content": "\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VXcb7VPw59s\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-bZxO5Dn9x0\u003c/p>\n\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\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/VXcb7VPw59s'\n title='//www.youtube.com/embed/VXcb7VPw59s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\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/-bZxO5Dn9x0'\n title='//www.youtube.com/embed/-bZxO5Dn9x0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"link": "https://www.cityarts.net",
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"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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"airtime": "SUN 7:30pm-8pm",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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. ",
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"order": 18
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"marketplace": {
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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.",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"order": 11
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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},
"link": "/radio/program/planet-money",
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