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"content": "\u003cp>“In every man, of course, a demon lies hidden — the demon of rage,” says the intellectual brother, Ivan, in Fyodor Dostoevsky’s \u003cem>The Brothers Karamazov\u003c/em>, a theme to which the Russian novelist frequently returns.\u003c/p>\n\u003cp>It is also a theme central to the HBO series, \u003cem>Barry\u003c/em>, whose fourth and final season premieres on Sunday, as the show’s titular hit man seeks to convince himself and others that he is ultimately a good person.\u003c/p>\n\u003cp>[aside postid='pop_102826']And while Bill Hader, the co-creator and star of \u003cem>Barry\u003c/em>, is reluctant to advertise the influence that Dostoevsky and other Russian authors have had on his Emmy-winning series, he disclosed that this kind of exploration of morality played a significant role in his creative process when he set out to make the show.\u003c/p>\n\u003cp>“I’m always like, ‘Yeah, I don’t watch a lot of TV.’ But I leave out that part, that I was reading big Russian books,” Hader laughed.\u003c/p>\n\u003cp>At the suggestion of his friend, author George Saunders, Hader took an interest in Russian literature and immersed himself in novels like Leo Tolstoy’s \u003cem>Anna Karenina\u003c/em> and \u003cem>War and Peace\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13927817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927817\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-800x533.png\" alt=\"A older white man stands in a prison yard wearing blue hospital scrubs. Several figures are visible behind him.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.08.03-PM.png 1364w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Root’s Fuches is in a cycle of revenge and betrayal with Hader’s title character. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One aspect of these stories which Hader sought to bring to \u003cem>Barry\u003c/em> was their contentment in probing philosophical questions about human nature, violence and revenge without necessarily expecting to find answers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> is billed as a comedy, though its dark content can preclude some from being able to enjoy its humor. It follows a Marine veteran-turned-hit man (Hader) who tries repeatedly but fails to denounce his profession after he takes an interest in acting.\u003c/p>\n\u003cp>If the premise sounds absurd, that’s because it is.\u003c/p>\n\u003cp>“It’s a bad, bad logline,” said Stephen Root, who plays Fuches, Barry’s handler and old family friend.\u003c/p>\n\u003cp>But many of the show’s stars, including seasoned actors like Henry Winkler, sang the praises of \u003cem>Barry\u003c/em> for its originality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_4lf2LKZwoY\u003c/p>\n\u003cp>Although limited to 30-minute episodes, \u003cem>Barry\u003c/em> isn’t afraid to punch above its weight class, with clear inspiration from lauded cinema and prestige television like \u003cem>The Sopranos\u003c/em> and \u003cem>Twin Peaks.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13927532']Hader, described by his co-stars as a “total cinephile,” relied heavily on his extensive knowledge of film when considering how the series would grapple with weighty questions like whether humans are intrinsically violent.\u003c/p>\n\u003cp>“What’s always been really interesting to me, actually, is inherent violence within people,” Hader said, citing films that have played a role in his meditation on the subject, including \u003cem>A Clockwork Orange\u003c/em>, \u003cem>Goodfellas\u003c/em> and Terrence Malick’s \u003cem>The Thin Red Line\u003c/em>.\u003c/p>\n\u003cp>Throughout the show, Barry struggles to break out of a ceaseless cycle of carnage, while maintaining over and over that he is not defined by his past.\u003c/p>\n\u003cfigure id=\"attachment_13927818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png\" alt=\"An older man sits at a kitchen table in a silk dressing gown. He stares vacantly ahead, the weight of the world on his shoulders.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Winkler’s hapless acting teacher, Gene Cousineau, represents the moral center of the show in many ways. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of the third season, Barry’s actions have — either directly or indirectly — driven nearly every character to the precipice of violence. While those around him frequently describe Barry as “a violent guy,” they themselves are almost always willing to pull the trigger when the opportunity for revenge presents itself.\u003c/p>\n\u003cp>But although Hader wanted to avoid facile portrayals of characters who are purely good or purely evil, he also hopes it is apparent that Barry is not someone he wants audiences to root for.\u003c/p>\n\u003cp>[aside postid='arts_13926773']“It was weird how people did have sympathy for him. I think the thing was just trying to make him human,” Hader said. “But what I always never want to lose focus of is that, you know, he murders people.”\u003c/p>\n\u003cp>The final season further explores the implications of its characters’ descent into crime and punishment, though the line between fantasy and reality is increasingly blurry, prompting the viewer to wonder how much, if any, of season four is meant to be understood as “real.”\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> often alludes to its self-awareness in its portrayals of both Hollywood tropes and murder. The horror that Barry’s former acting teacher (Winkler) expresses in season four at the thought of “glorifying a psychopath” feels like a kind of nod to the show’s humanization of a killer.\u003c/p>\n\u003cfigure id=\"attachment_13927816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927816\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png\" alt=\"Two men stand side-by-side in a sports bar gesturing to a friend. One is young but entirely bald and wearing a sports jacket. The other is Latino with slicked back hair and mustache and ’70s-style leather jackets.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Carrigan and Michael Irby provide both humor and some heart to ‘Barry.’ \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barring its bleak subject matter, \u003cem>Barry\u003c/em> is very much a comedy whose tendency to get dark is ameliorated by humor, though those moments of respite become increasingly rare and increasingly absurd as the show progresses.\u003c/p>\n\u003cp>But Winkler said that didn’t stop their “fearless leader” from occasionally breaking out of character and into laughter throughout the making of the show.\u003c/p>\n\u003cp>“You’d see his shoulders bounce up and down because he’s laughing. You have to remind him, ‘You’re in the scene, Bill,’” he said.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\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>The final series of ‘Barry’ begins on HBO on April 16, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> is billed as a comedy, though its dark content can preclude some from being able to enjoy its humor. It follows a Marine veteran-turned-hit man (Hader) who tries repeatedly but fails to denounce his profession after he takes an interest in acting.\u003c/p>\n\u003cp>If the premise sounds absurd, that’s because it is.\u003c/p>\n\u003cp>“It’s a bad, bad logline,” said Stephen Root, who plays Fuches, Barry’s handler and old family friend.\u003c/p>\n\u003cp>But many of the show’s stars, including seasoned actors like Henry Winkler, sang the praises of \u003cem>Barry\u003c/em> for its originality.\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/_4lf2LKZwoY'\n title='//www.youtube.com/embed/_4lf2LKZwoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although limited to 30-minute episodes, \u003cem>Barry\u003c/em> isn’t afraid to punch above its weight class, with clear inspiration from lauded cinema and prestige television like \u003cem>The Sopranos\u003c/em> and \u003cem>Twin Peaks.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hader, described by his co-stars as a “total cinephile,” relied heavily on his extensive knowledge of film when considering how the series would grapple with weighty questions like whether humans are intrinsically violent.\u003c/p>\n\u003cp>“What’s always been really interesting to me, actually, is inherent violence within people,” Hader said, citing films that have played a role in his meditation on the subject, including \u003cem>A Clockwork Orange\u003c/em>, \u003cem>Goodfellas\u003c/em> and Terrence Malick’s \u003cem>The Thin Red Line\u003c/em>.\u003c/p>\n\u003cp>Throughout the show, Barry struggles to break out of a ceaseless cycle of carnage, while maintaining over and over that he is not defined by his past.\u003c/p>\n\u003cfigure id=\"attachment_13927818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png\" alt=\"An older man sits at a kitchen table in a silk dressing gown. He stares vacantly ahead, the weight of the world on his shoulders.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.12.27-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Winkler’s hapless acting teacher, Gene Cousineau, represents the moral center of the show in many ways. \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of the third season, Barry’s actions have — either directly or indirectly — driven nearly every character to the precipice of violence. While those around him frequently describe Barry as “a violent guy,” they themselves are almost always willing to pull the trigger when the opportunity for revenge presents itself.\u003c/p>\n\u003cp>But although Hader wanted to avoid facile portrayals of characters who are purely good or purely evil, he also hopes it is apparent that Barry is not someone he wants audiences to root for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was weird how people did have sympathy for him. I think the thing was just trying to make him human,” Hader said. “But what I always never want to lose focus of is that, you know, he murders people.”\u003c/p>\n\u003cp>The final season further explores the implications of its characters’ descent into crime and punishment, though the line between fantasy and reality is increasingly blurry, prompting the viewer to wonder how much, if any, of season four is meant to be understood as “real.”\u003c/p>\n\u003cp>\u003cem>Barry\u003c/em> often alludes to its self-awareness in its portrayals of both Hollywood tropes and murder. The horror that Barry’s former acting teacher (Winkler) expresses in season four at the thought of “glorifying a psychopath” feels like a kind of nod to the show’s humanization of a killer.\u003c/p>\n\u003cfigure id=\"attachment_13927816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927816\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png\" alt=\"Two men stand side-by-side in a sports bar gesturing to a friend. One is young but entirely bald and wearing a sports jacket. The other is Latino with slicked back hair and mustache and ’70s-style leather jackets.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-14-at-12.03.42-PM.png 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Carrigan and Michael Irby provide both humor and some heart to ‘Barry.’ \u003ccite>(HBO via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barring its bleak subject matter, \u003cem>Barry\u003c/em> is very much a comedy whose tendency to get dark is ameliorated by humor, though those moments of respite become increasingly rare and increasingly absurd as the show progresses.\u003c/p>\n\u003cp>But Winkler said that didn’t stop their “fearless leader” from occasionally breaking out of character and into laughter throughout the making of the show.\u003c/p>\n\u003cp>“You’d see his shoulders bounce up and down because he’s laughing. You have to remind him, ‘You’re in the scene, Bill,’” he said.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\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>The final series of ‘Barry’ begins on HBO on April 16, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Succession’ Returns for a Fourth and Final Season of Family Back-Stabbing",
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"content": "\u003cp>\u003cem>Succession \u003c/em>began on Logan Roy’s birthday, with his first medical emergency. It had him nearly dying in his own helicopter, and it raised the question of what might come after Logan. Who would take over Waystar Royco? Who would run things? What would Logan have wanted? Since then, we’ve learned that this was an utter misdirect: \u003cem>Succession\u003c/em> is not about following Logan Roy at all. It is about \u003cem>surviving \u003c/em>Logan Roy. Can he be endured? Can his caustic influence be undone? Can he ever be outwitted, outplayed, or outlasted?\u003c/p>\n\u003cp>Despite dialogue so acerbic that it puckers the cast’s mouths like a salt and vinegar chip, and despite the dynamism of performances that harden, soften and harden again, stasis has always stalked the story of the Roys. Kendall, after all, has been vanquished in four separate rebellions against his father, each time ramming his quavering, sad-boy face into a different immovable object.\u003c/p>\n\u003cp>[aside postid='arts_13926515']At the board meeting in Season 1, it was weather and midtown traffic. At Shiv and Tom’s wedding, it was the dual grip of his own addiction and his cowardice in the face of consequences. After the press conference\u003ca href=\"https://www.npr.org/2019/10/14/770025859/roy-oh-roy-that-succession-finale-was-a-trip\"> at the end of Season 2,\u003c/a> it was systemic indifference to the wrongdoing of the billionaire class. And at the end of Season 3, when his siblings finally joined him, it was Logan’s legend itself. Tom had seen Kendall lose to his father before, believed he would lose again, and wound up bringing about that result in an effort to end up on the winning team (and spite his wife). Kendall had thought that an orderly approach could work, that the brutal truth could work, or that a united front could work. They didn’t.\u003c/p>\n\u003cp>\u003cem>Succession\u003c/em> can look like it’s stuck in a loop, but the way this conflict between Logan and his three youngest kids changes in shape but never in result served to establish the show’s central truth: Logan always wins. If that’s the case, though, there’s a story problem with one final season to go. If the kids do finally beat him, you’ve cheated on that truth. If they stop trying to beat him, the conflict is over. If they fail again, the family has just made one last round through the same cycle. And the last thing \u003cem>Succession \u003c/em>could ever end in is any sort of compromise. So what’s a storyteller to do?\u003c/p>\n\u003cp>Critically, though, at\u003ca href=\"https://www.npr.org/2021/12/12/1063561827/succession-recap-season-3-finale\"> the end of the third season,\u003c/a> something else changed in a way it never had. It wasn’t the dynamic between Shiv, Roman and Kendall and their father one-on-one, but the dynamics \u003cem>among\u003c/em> the three of them. Logan, even in winning again, had become so galled at their effort to defy him that he took his eye off the ball. He gave up his greatest advantage, the one he’d been using to control them all their lives: playing them against each other. He told them \u003cem>all \u003c/em>that they were fools. He had spent decades trapping them in separate emotional cells and giving them different information and different promises. Now, he had effectively shut them in a room together and walked out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wisely, the fourth season begins a while later, rather than dwelling on the immediate aftermath, which seems to have played out as one would expect. Family relationships? Busted. Shiv’s marriage? A wreck. The sale to GoJo? About to close. What’s more, it’s Logan’s birthday again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t3D3ewle7XY\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>We find Roman, Shiv and Kendall hanging out at a compound somewhere beautiful, looking at mountains and blue sky through enormous windows that emphasize their opened-up world — particularly compared to the dark-wood family home, where Logan is celebrating another trip around the sun with his usual joyless scowl. The siblings are working on a terrible but brutally plausible idea for a new company, and their fixation is mostly on making fun of proposed logos. They are eyeing each other suspiciously now and then, wondering whether anyone is going to break with the group, but they are together, truly, more than we’ve ever seen. Meanwhile, only two members of the family remain in Logan’s circle: Tom, who proved his loyalty to his father-in-law by shivving Shiv, and Greg, who was won over by Tom’s appeal to the utter irrelevance of the human soul.\u003c/p>\n\u003cp>[aside postid='arts_13906871']So while his kids are still trying to survive Logan Roy, they are oddly, suddenly, liberated from him.\u003c/p>\n\u003cp>Maybe. Sort of.\u003c/p>\n\u003cp>The first episode of this final season (of the four offered to critics) asks a new question, and hints at the way this story problem will be solved and stasis avoided: Without their father setting them against each other in the way he always has, and without the dynamic they have all known since birth that has prevented them — Shiv, Kendall, Roman and Connor — from developing durable and meaningful relationships with anyone as adults, who \u003cem>are\u003c/em> these people? What will drive them, if not that competitiveness for his approval? And without them as his playthings, will Logan somehow manage to … miss them? Can torturing Greg and being exasperated by Tom ever give Logan anything close to the visceral pleasure he gets from emotionally abusing his children?\u003c/p>\n\u003cp>The first episode also introduces an important choice that comes back over and over in the first few episodes: the comedy and the tension that’s inherent in the unseen. There is a discussion between Logan and Greg that sounds \u003cem>so\u003c/em> funny, the kind of exchange that the writers would dig into and that the actors could devour like a Christmas ham — but we don’t see it, we only hear Greg describe it. There is a series of telephone conversations where we seem to be watching the wrong side, the less important side — the listening side rather than the speaking side. Information arrives first via a telling flicker in the eye of a person who’s receiving it, who only later makes explicit what was said. \u003cem>Succession\u003c/em> has always been a sharply written show, but there is a delicious restraint in this season that feels new.\u003c/p>\n\u003cp>To do less, to say less, and to leave out scenes that could have been dramatic or comedic or both, requires confidence in both the writers and the cast. Jeremy Strong, Sarah Snook, Kieran Culkin and Alan Ruck have in common a talent for summoning both childlike, love-me expressions and loathsome, snide, ice-cold ones. They can sneer and snivel with only seconds separating the two.\u003c/p>\n\u003cp>[aside postid='arts_13925147']And doing without much in the way of contact between Logan and his children in the early going requires him to be surrounded by people who give his character shape. There’s Tom, and there’s Greg, but critically, this season also sees new opportunities for Logan’s cadre of suit-wearing opportunists played by the genius supporting cast. Gerri (J. Smith-Cameron) (whose relationship with Roman seems to be far less complex to her than it is to him) has managed to stick around even after the Photo That Shall Not Be Named, and she remains a ruthlessly efficient cipher. Karl (David Rasche) and Frank (Peter Friedman) continue to be the dry-witted Weasel-Dee and Weasel-Dum of corporate goobers, and poor Hugo (Fisher Stevens) and Karolina (Dagmara Dominczyk) are over and over forced into the position of translating this family’s disasters for the entire world. They are uniformly divine when called upon in new ways.\u003c/p>\n\u003cp>This is a season the creators are holding close to the vest for obvious reasons. But in the early going, it’s off to exactly the emotionally complicated, darkly funny, backstabbing, bantering, betraying, bewitching, tragicomic punch-packing start that the people who have followed the Roys since Kendall first sang along in the back seat of a limo are craving.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Succession%27+returns+for+a+fourth+and+final+season+of+family+back-stabbing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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>Season 4 of ‘Succession’ premieres on HBO Max on March 26, 2023. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Succession \u003c/em>began on Logan Roy’s birthday, with his first medical emergency. It had him nearly dying in his own helicopter, and it raised the question of what might come after Logan. Who would take over Waystar Royco? Who would run things? What would Logan have wanted? Since then, we’ve learned that this was an utter misdirect: \u003cem>Succession\u003c/em> is not about following Logan Roy at all. It is about \u003cem>surviving \u003c/em>Logan Roy. Can he be endured? Can his caustic influence be undone? Can he ever be outwitted, outplayed, or outlasted?\u003c/p>\n\u003cp>Despite dialogue so acerbic that it puckers the cast’s mouths like a salt and vinegar chip, and despite the dynamism of performances that harden, soften and harden again, stasis has always stalked the story of the Roys. Kendall, after all, has been vanquished in four separate rebellions against his father, each time ramming his quavering, sad-boy face into a different immovable object.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the board meeting in Season 1, it was weather and midtown traffic. At Shiv and Tom’s wedding, it was the dual grip of his own addiction and his cowardice in the face of consequences. After the press conference\u003ca href=\"https://www.npr.org/2019/10/14/770025859/roy-oh-roy-that-succession-finale-was-a-trip\"> at the end of Season 2,\u003c/a> it was systemic indifference to the wrongdoing of the billionaire class. And at the end of Season 3, when his siblings finally joined him, it was Logan’s legend itself. Tom had seen Kendall lose to his father before, believed he would lose again, and wound up bringing about that result in an effort to end up on the winning team (and spite his wife). Kendall had thought that an orderly approach could work, that the brutal truth could work, or that a united front could work. They didn’t.\u003c/p>\n\u003cp>\u003cem>Succession\u003c/em> can look like it’s stuck in a loop, but the way this conflict between Logan and his three youngest kids changes in shape but never in result served to establish the show’s central truth: Logan always wins. If that’s the case, though, there’s a story problem with one final season to go. If the kids do finally beat him, you’ve cheated on that truth. If they stop trying to beat him, the conflict is over. If they fail again, the family has just made one last round through the same cycle. And the last thing \u003cem>Succession \u003c/em>could ever end in is any sort of compromise. So what’s a storyteller to do?\u003c/p>\n\u003cp>Critically, though, at\u003ca href=\"https://www.npr.org/2021/12/12/1063561827/succession-recap-season-3-finale\"> the end of the third season,\u003c/a> something else changed in a way it never had. It wasn’t the dynamic between Shiv, Roman and Kendall and their father one-on-one, but the dynamics \u003cem>among\u003c/em> the three of them. Logan, even in winning again, had become so galled at their effort to defy him that he took his eye off the ball. He gave up his greatest advantage, the one he’d been using to control them all their lives: playing them against each other. He told them \u003cem>all \u003c/em>that they were fools. He had spent decades trapping them in separate emotional cells and giving them different information and different promises. Now, he had effectively shut them in a room together and walked out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wisely, the fourth season begins a while later, rather than dwelling on the immediate aftermath, which seems to have played out as one would expect. Family relationships? Busted. Shiv’s marriage? A wreck. The sale to GoJo? About to close. What’s more, it’s Logan’s birthday 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/t3D3ewle7XY'\n title='//www.youtube.com/embed/t3D3ewle7XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>We find Roman, Shiv and Kendall hanging out at a compound somewhere beautiful, looking at mountains and blue sky through enormous windows that emphasize their opened-up world — particularly compared to the dark-wood family home, where Logan is celebrating another trip around the sun with his usual joyless scowl. The siblings are working on a terrible but brutally plausible idea for a new company, and their fixation is mostly on making fun of proposed logos. They are eyeing each other suspiciously now and then, wondering whether anyone is going to break with the group, but they are together, truly, more than we’ve ever seen. Meanwhile, only two members of the family remain in Logan’s circle: Tom, who proved his loyalty to his father-in-law by shivving Shiv, and Greg, who was won over by Tom’s appeal to the utter irrelevance of the human soul.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So while his kids are still trying to survive Logan Roy, they are oddly, suddenly, liberated from him.\u003c/p>\n\u003cp>Maybe. Sort of.\u003c/p>\n\u003cp>The first episode of this final season (of the four offered to critics) asks a new question, and hints at the way this story problem will be solved and stasis avoided: Without their father setting them against each other in the way he always has, and without the dynamic they have all known since birth that has prevented them — Shiv, Kendall, Roman and Connor — from developing durable and meaningful relationships with anyone as adults, who \u003cem>are\u003c/em> these people? What will drive them, if not that competitiveness for his approval? And without them as his playthings, will Logan somehow manage to … miss them? Can torturing Greg and being exasperated by Tom ever give Logan anything close to the visceral pleasure he gets from emotionally abusing his children?\u003c/p>\n\u003cp>The first episode also introduces an important choice that comes back over and over in the first few episodes: the comedy and the tension that’s inherent in the unseen. There is a discussion between Logan and Greg that sounds \u003cem>so\u003c/em> funny, the kind of exchange that the writers would dig into and that the actors could devour like a Christmas ham — but we don’t see it, we only hear Greg describe it. There is a series of telephone conversations where we seem to be watching the wrong side, the less important side — the listening side rather than the speaking side. Information arrives first via a telling flicker in the eye of a person who’s receiving it, who only later makes explicit what was said. \u003cem>Succession\u003c/em> has always been a sharply written show, but there is a delicious restraint in this season that feels new.\u003c/p>\n\u003cp>To do less, to say less, and to leave out scenes that could have been dramatic or comedic or both, requires confidence in both the writers and the cast. Jeremy Strong, Sarah Snook, Kieran Culkin and Alan Ruck have in common a talent for summoning both childlike, love-me expressions and loathsome, snide, ice-cold ones. They can sneer and snivel with only seconds separating the two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And doing without much in the way of contact between Logan and his children in the early going requires him to be surrounded by people who give his character shape. There’s Tom, and there’s Greg, but critically, this season also sees new opportunities for Logan’s cadre of suit-wearing opportunists played by the genius supporting cast. Gerri (J. Smith-Cameron) (whose relationship with Roman seems to be far less complex to her than it is to him) has managed to stick around even after the Photo That Shall Not Be Named, and she remains a ruthlessly efficient cipher. Karl (David Rasche) and Frank (Peter Friedman) continue to be the dry-witted Weasel-Dee and Weasel-Dum of corporate goobers, and poor Hugo (Fisher Stevens) and Karolina (Dagmara Dominczyk) are over and over forced into the position of translating this family’s disasters for the entire world. They are uniformly divine when called upon in new ways.\u003c/p>\n\u003cp>This is a season the creators are holding close to the vest for obvious reasons. But in the early going, it’s off to exactly the emotionally complicated, darkly funny, backstabbing, bantering, betraying, bewitching, tragicomic punch-packing start that the people who have followed the Roys since Kendall first sang along in the back seat of a limo are craving.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Succession%27+returns+for+a+fourth+and+final+season+of+family+back-stabbing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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>Season 4 of ‘Succession’ premieres on HBO Max on March 26, 2023. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Science That Spawned Fungal Fears in HBO’s ‘The Last of Us’",
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"content": "\u003cp>The video game series that spawned the new hit HBO drama,\u003cem> The Last of Us, \u003c/em>is the zombie genre with a twist.\u003c/p>\n\u003cp>Instead of a run-of-the-mill viral pandemic or bacterial disease pushing humanity to the brink, a \u003cem>Cordyceps \u003c/em>fungus evolves to survive in human bodies in part due to climate change.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Fungal disease resulted in around 1.7 million deaths in 2021, but it was only last year that the World Health Organization published its first-ever \u003ca href=\"https://www.who.int/publications-detail-redirect/9789240060241\">list of fungal priority pathogens\u003c/a>.\u003c/p>\n\u003cp>To learn more about the science that inspired \u003cem>The Last of Us\u003c/em> and the real-life threats fungal researchers see in the ever-warming world, \u003ca href=\"https://www.npr.org/podcasts/510351/short-wave\">\u003cem>Short Wave \u003c/em>\u003c/a>co-host Aaron Scott recently sat down with \u003ca href=\"https://mgm.duke.edu/personnel/asiya-gusa\">Asiya Gusa\u003c/a>, a post-doctoral fungal researcher at Duke University.\u003c/p>\n\u003cp>As a mycologist, Gusa was excited from the first scene, “When I saw the opening few minutes, I nearly jumped off the couch and was yelling at the screen, ‘This is like what I study!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLNagvJHl3g\u003c/p>\n\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>[aside postid='arts_13923656']Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OLNagvJHl3g'\n title='//www.youtube.com/embed/OLNagvJHl3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Full Guide to the Sexual Misconduct Allegations Against Andrew Callaghan",
"headTitle": "A Full Guide to the Sexual Misconduct Allegations Against Andrew Callaghan | KQED",
"content": "\u003cp>Andrew Callaghan, a documentarian behind YouTube’s \u003cem>Channel 5\u003c/em> and HBO’s \u003cem>This Place Rules\u003c/em>, is known for chronicling spectacles from Phish shows to white nationalist rallies.\u003c/p>\n\u003cp>But this month, the 25-year-old was himself the story after thousands of social media users saw a pattern of misconduct in first- and second-hand accounts of women’s experiences that were shared across platforms in public comments and videos.\u003c/p>\n\u003cp>Callaghan addressed the allegations in an Instagram post on Sunday, apologizing to the women and pledging to examine his behavior in therapy.\u003c/p>\n\u003cp>But for many who follow Callaghan’s work, the incident raises questions about Gen Z’s tolerance for sexually questionable behavior.\u003c/p>\n\u003cp>Here’s an account of what has happened as of Friday.\u003c/p>\n\u003ch3>Who is Andrew Callaghan?\u003c/h3>\n\u003cfigure id=\"attachment_13923923\" class=\"wp-caption aligncenter\" style=\"max-width: 608px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg\" alt=\"An unkempt young white man with messy shoulder length hair looks into a camera. He is sitting in a white living room.\" width=\"608\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg 608w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8-160x90.jpg 160w\" sizes=\"(max-width: 608px) 100vw, 608px\">\u003cfigcaption class=\"wp-caption-text\">YouTube star and documentary film-maker Andrew Callaghan has publicly apologized after women came forward to say he sexually assaulted or coerced them.\u003c/figcaption>\u003c/figure>\n\u003cp>Callaghan is a self-styled journalist for the digital age whose irreverent YouTube videos have earned him fame across several platforms. His brand, \u003cem>Channel 5\u003c/em> news, has 600,000 followers on Instagram and another 2.25 million on YouTube.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callaghan got his start while a student at Loyola University in New Orleans, where he launched a YouTube series called \u003cem>Quarter Confessions.\u003c/em> Wearing pale suits and carrying a corded microphone, Callaghan interviewed intoxicated Bourbon Street party-goers, editing together their wildest statements with quick cuts and intentionally outdated effects.\u003c/p>\n\u003cp>In 2019, he took that style of filmmaking across the country in a beat-up RV, stopping for interviews at sites like a flat-earthers’ conference and the Talladega Speedway. The show, \u003cem>All Gas No Brakes\u003c/em>, \u003ca href=\"https://www.nytimes.com/2021/03/23/style/all-gas-no-brakes.html\">fell apart in 2021 after a contract dispute\u003c/a> with its production company, Doing Things Media.\u003c/p>\n\u003cp>Callaghan then started the Patreon-funded\u003cem> Channel 5. \u003c/em>The series has amassed over 106 million YouTube views since April 2021.\u003c/p>\n\u003cp>His following has only broadened since the Dec. 30 release of his first HBO documentary, \u003cem>This Place Rules, \u003c/em>which examines the cultural divisions underlying the Jan. 6 attack on the U.S. Capitol.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH_rX9S6sU8\u003c/p>\n\u003cp>In interviews with legacy journalists about his unfiltered reporting, Callaghan has defended his popularity among younger millennials and elder Gen Z’ers as a bit of media mockery in the service of media literacy.\u003c/p>\n\u003cp>He says giving airtime to fringe voices is an actual form of reporting in an age of overwhelming journalistic punditry.\u003c/p>\n\u003cp>“When there is a massive divide in America, you’re going to find interviews on the fringe,” he \u003ca href=\"https://www.npr.org/2022/12/31/1146453216/andrew-callaghan-on-new-jan-6-documentary-this-place-rules\">said in a recent interview with NPR\u003c/a>. “What we try to do is physically speak to people, actually show up and be there and ask people simple questions like, ‘What’s on your mind? How are you feeling?’”\u003c/p>\n\u003cp>He added that he lets the subjects “guide the conversation” in contrast to cable news reporters who use talking-head panels to “get the viewer as pissed off as possible.”\u003c/p>\n\u003ch3>Here’s when the allegations began to spread\u003c/h3>\n\u003cp>The claims against Callaghan began to go viral on Jan. 5, when a TikTok user who goes by the name Caroline Elise (@cornbreadasserole) posted a 2-minute video saying Callaghan pressured her into performing sexual acts with him.\u003c/p>\n\u003cp>[aside postid='arts_13923167']She said Callaghan, whom she’d been messaging on Instagram, asked to stay over at her house because he’d had a falling out with a crew member.\u003c/p>\n\u003cp>“I was very clear about the fact that we are not hooking up,” she said. “He gets in my bed and wears me down to the point where I eventually do agree to do things I wasn’t proud of.”\u003c/p>\n\u003cp>On Jan. 7, she posted again, sharing screenshots of messages she exchanged with Callaghan in 2021 and a photo of them together. She also shared screenshots of at least 10 messages from people saying they’d had a similar experience with Callaghan or knew of someone who had.\u003c/p>\n\u003cp>Caroline Elise has since deleted the videos from her TikTok feed, saying the response had diminished her mental health. But other users have saved and continue to share the videos across other platforms.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/waveninja1/status/1612866496266645505\">One version of it posted to Twitter\u003c/a> has been viewed over 756,000 times. \u003ca href=\"https://www.twitch.tv/videos/1702531869\">A version shared on a Twitch livestream\u003c/a> has over 833,000 views.\u003c/p>\n\u003cp>https://twitter.com/waveninja1/status/1612866496266645505\u003c/p>\n\u003cp>Caroline Elise said she didn’t want to talk directly to NPR also for mental health reasons. She instead put us in touch with a long-time friend, whose name we’ve agreed to withhold over her fears of online harassment.\u003c/p>\n\u003cp>The friend said that Callaghan knew how Caroline Elise felt about the incident months before she’d ever posted it to TikTok. The friend shared screenshots of Instagram posts from August 2021, in which the friend warned other women in her city that Callaghan had “knowingly assaulted my friend and got away with it.”\u003c/p>\n\u003cp>The friend also shared screenshots of a text message conversation that took place between Callaghan and Caroline Elise in December 2021, after Caroline Elise had confronted Callaghan about his behavior.\u003c/p>\n\u003cp>In one long message, Callaghan said he recognized that the social power dynamics at play “can dramatically warp consent” and had tried to unpack his behavior in therapy.\u003c/p>\n\u003cp>He also said that “prior partners” from New Orleans and Nashville had reached out to him in response to the Instagram posts and had “started dialogues with him that have benefitted all our lives for the better.”\u003c/p>\n\u003cp>“I want to do whatever I possibly can to be accountable and support you in whatever way you’d like,” the message continues. “It would mean the world to me to be able to have an open conversation with you.”\u003c/p>\n\u003ch3>A second accuser claims Callaghan sexually assaulted her in 2019\u003c/h3>\n\u003cp>Caroline Elise’s video prompted another woman, a TikTok user who goes by the name Dana (@moldyfreckle), to come forward.\u003c/p>\n\u003cp>In a series of videos, Dana said Callaghan assaulted her on a drive home from dinner, first kissing her neck, then putting his hand down her pants and putting her hands on his crotch as she was telling him to stop. Callaghan left the car after she’d asked multiple times, Dana said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7186167704103996715\" data-video-id=\"7186167704103996715\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a> Part 4. This will be my last video tonight. \u003ca title=\"andrewcallaghan\" href=\"https://www.tiktok.com/tag/andrewcallaghan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#andrewcallaghan\u003c/a> \u003ca title=\"allgasnobrakes\" href=\"https://www.tiktok.com/tag/allgasnobrakes?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#allgasnobrakes\u003c/a> \u003ca title=\"thisplacerules\" href=\"https://www.tiktok.com/tag/thisplacerules?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thisplacerules\u003c/a> \u003ca title=\"channel5\" href=\"https://www.tiktok.com/tag/channel5?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#channel5\u003c/a> \u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7186167830167997226?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Dana later posted a video showing screenshots of her messages with Callahan in January 2019. She hasn’t responded to multiple requests from NPR.\u003c/p>\n\u003cp>In addressing the responses to her videos, Dana dismissed ideas that she was seeking clout, money or trying to sabotage Callaghan’s success.\u003c/p>\n\u003cp>“I’m not going to let someone else go through this alone,” she said in her TikTok post, referencing Caroline’s video. “I’m just saying the truth right now and I don’t care what you believe, but I want other women who he’s affected to feel comfortable talking about it.”\u003c/p>\n\u003cp>While the stories from Dana and Caroline Elise have remained the most widely shared and commented upon, several other people have since posted in comments or videos claiming similarly pushy sexual behavior. They say their experiences with Callaghan formed a pattern.\u003c/p>\n\u003ch3>How did Callaghan respond?\u003c/h3>\n\u003cp>In a video posted to Instagram on Sunday, Callaghan thanked the people who’d spoken out about “different ways in which my behavior has made them feel uncomfortable or pressured during a sexual situation” and apologized to them, as well as his collaborators. He did not single out any particular accusations, or confirm or deny any specific accusations circulating.\u003c/p>\n\u003cp>https://www.instagram.com/p/CndGN_Av97E/\u003c/p>\n\u003cp>He did, however, say that he thought many of the accusations were missing important contextual information.\u003c/p>\n\u003cp>“I want to make a few things clear: I’ve always taken no for an answer,” he said. “As far as consent, I’ve never overstepped that line.”\u003c/p>\n\u003cp>“Up until this point, I didn’t really realize that I had this pattern that affected multiple people,” he said, later adding that he thought going home from a bar alone “made you a loser” and that “persistence was a form of flattery.”\u003c/p>\n\u003cp>Callaghan had largely laid low online and in public \u003ca href=\"https://www.motherjones.com/politics/2023/01/this-place-rules-is-a-peoples-history-of-january-6-documentary-npr-cnn/\">since a tumultuous live interview\u003c/a> with \u003ca href=\"https://www.wbur.org/events/822709/this-place-rules-hbo-original-screening-and-conversation-with-gonzo-journalist-andrew-callaghan-on-the-jan-6-insurrection\">NPR member station WBUR\u003c/a> on Jan. 4. He explained in the video that he’d waited nearly two weeks to respond because he was in a state of shock and “spiraled into a mental health crisis.”\u003c/p>\n\u003cp>Callaghan also said he believes alcohol may have contributed to his decision-making and said that he’s planning to join a 12-step program.\u003c/p>\n\u003cp>Dana \u003ca href=\"https://www.youtube.com/watch?v=bD8g_ZfcrEo\">posted YouTube\u003c/a> and TikTok videos on Wednesday evening saying that she didn’t believe the apology was genuine and she didn’t forgive him, but also that she was finished talking about it.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7189806338938178862\" data-video-id=\"7189806338938178862\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a>\u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7189806337738443566?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>“I’m fed up, and I know other people are getting fed up,” she said. “It’s called karma. It’s not blackmail. It’s not revenge, it’s just how it goes.”\u003c/p>\n\u003cp>Caroline Elise had not publicly addressed Callaghan’s statements at the time of publication.\u003c/p>\n\u003ch3>What about the blackmail claims?\u003c/h3>\n\u003cp>Three days before Callaghan’s Instagram video, news outlets \u003ca href=\"https://www.tmz.com/2023/01/12/andrew-callaghan-all-gas-no-brakes-responds-sexual-assault-accusation/\">like TMZ\u003c/a> and \u003ca href=\"https://variety.com/2023/digital/news/andrew-callaghan-allegations-tim-heidecker-1235484693/\">\u003cem>Variety\u003c/em> \u003c/a>published portions of a statement, shared by a “legal representative” for Callaghan, which acknowledged Callaghan’s need to re-evaluate his behavior but also pointed to “multiple sides to a story.”\u003c/p>\n\u003cp>“While every dynamic is open to interpretation and proper communication is critical from all those involved, repeated requests for money should not be part of these conversations,” reads the statement, according to both outlets.\u003c/p>\n\u003cp>Neither Callaghan’s agent or publicist responded to NPR’s request for confirmation of the statement. Callaghan hasn’t responded to multiple NPR attempts to reach him through his social media.\u003c/p>\n\u003cp>Caroline Elise’s friend shared a screenshot of one message Caroline Elise sent to Callaghan six days before posting the allegations on TikTok.\u003c/p>\n\u003cp>The message includes the handle of Caroline Elise’s Venmo account. She wrote Callaghan could use it if “HBO cuts you a fat check, and you in any way feel like helping contribute to the massive amounts of therapy bills I have accrued.”\u003c/p>\n\u003cp>Caroline Elise’s friend told NPR that’s the only time Caroline Elise had brought up the prospect of him reimbursing her in their conversations together. Callaghan never responded to the text, Caroline Elise’s friend said.\u003c/p>\n\u003cp>Caroline Elise confirmed through her friend that she shared the allegation to raise awareness of Callaghan’s behavior. She has no plans to file a police report or a lawsuit, her friend told NPR.\u003c/p>\n\u003cfigure id=\"attachment_13923922\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg\" alt=\"\" width=\"591\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8-160x120.jpg 160w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot provided to NPR by a close friend of the TikTok user Caroline, who claims Andrew Callaghan coerced her into having sex in 2021. \u003ccite>(Screenshot provided to NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How did Callaghan’s fans react to the allegations?\u003c/h3>\n\u003cp>The claims, statements and reaction quickly spread on several social media platforms, where users, many of them anonymous, dissected Callaghan’s behavior in ways reminiscent of 2016’s #MeToo eruption, but with new cancel culture considerations.\u003c/p>\n\u003cp>The Reddit forum r/Channel5ive, which is in the top 5% of Reddit communities by size, was once dedicated to Callaghan fan adoration. Now it contains over 100 posts dedicated to investigating the allegations and debating which of the alleged behaviors crossed the line.\u003c/p>\n\u003cp>“Drinking with someone, inviting someone into your home, even inviting someone into your bed does not equal consent,” \u003ca href=\"https://www.reddit.com/r/Channel5ive/comments/105vp67/whatever_the_truth_is_we_as_a_community_need_to/\">wrote one user in a post\u003c/a> that received 1,100 up votes and 382 comments.\u003c/p>\n\u003cp>“I’m not saying let’s just ‘cancel’ the whole thing, but I really don’t like people saying we can just separate his journalism from his misconduct,” posted another.\u003c/p>\n\u003cp>Responding to requests by users, moderators eventually removed a Patreon link supporting Callaghan’s work and replaced it with a link to the National Women’s Law Center, which helps victims of sexual assault.\u003c/p>\n\u003cp>https://twitter.com/_letterbxmb/status/1612620941619597313\u003c/p>\n\u003cp>YouTube and Twitch streamers whose audiences overlap with Callaghan’s also parsed through the allegations and apology, trying to glean universal lessons.\u003c/p>\n\u003cp>Twitch streamer Hasan Piker (@Hasanabi), who boasts 2.3 million subscribers, \u003ca href=\"https://www.youtube.com/watch?v=woYpUM0EKqg\">said in his third video mentioning the allegations\u003c/a> that Callaghan’s apology is promising but that it’s only natural that his fans wait before passing judgment.\u003c/p>\n\u003cp>“People are not going to read this with any kind of charitability,” because Callaghan hasn’t done anything yet to demonstrate how he’s changed, Piker predicted.\u003c/p>\n\u003ch3>What does this mean for ‘Channel 5’ and Callaghan’s work?\u003c/h3>\n\u003cp>In his video apology, Callaghan said he wasn’t sure what comes next, but he wanted to take a step back from public life while he processed his behavior.\u003c/p>\n\u003cp>“I’m only 25 years old and I have my whole life ahead of me,” he said, adding that reporting was still his first love.\u003c/p>\n\u003cp>Tim Heidecker, a comedian who helped produce \u003cem>This Place Rules\u003c/em>, addressed the allegations on \u003ca href=\"https://podcasts.apple.com/us/podcast/234-atsuko-okatsuka/id1153746716?i=1000594133836\">his \u003cem>Office Hours\u003c/em> podcast last Thursday\u003c/a> by saying he had no plans to collaborate with Callaghan again in the future.\u003c/p>\n\u003cp>https://twitter.com/OfficeHrsLive/status/1613596594925981696\u003c/p>\n\u003cp>“We have no professional relationship with Andrew at this time and have no plans to have any relationship with him,” Heidecker said, speaking on behalf of his comedy and production partner, Eric Wareheim.\u003c/p>\n\u003cp>A publicist for Heidecker and Wareheim told NPR the pair had no updated comments on Callaghan’s apology. The press offices for A24 and HBO did not respond to NPR’s requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The YouTube page for \u003cem>Channel 5\u003c/em>, which had been sharing clips from \u003cem>This Place Rules\u003c/em> for the last three weeks, hasn’t posted a new video since the week the allegations surfaced.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=A+full+guide+to+the+sexual+misconduct+allegations+against+YouTuber+Andrew+Callaghan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Callaghan, a documentarian behind YouTube’s \u003cem>Channel 5\u003c/em> and HBO’s \u003cem>This Place Rules\u003c/em>, is known for chronicling spectacles from Phish shows to white nationalist rallies.\u003c/p>\n\u003cp>But this month, the 25-year-old was himself the story after thousands of social media users saw a pattern of misconduct in first- and second-hand accounts of women’s experiences that were shared across platforms in public comments and videos.\u003c/p>\n\u003cp>Callaghan addressed the allegations in an Instagram post on Sunday, apologizing to the women and pledging to examine his behavior in therapy.\u003c/p>\n\u003cp>But for many who follow Callaghan’s work, the incident raises questions about Gen Z’s tolerance for sexually questionable behavior.\u003c/p>\n\u003cp>Here’s an account of what has happened as of Friday.\u003c/p>\n\u003ch3>Who is Andrew Callaghan?\u003c/h3>\n\u003cfigure id=\"attachment_13923923\" class=\"wp-caption aligncenter\" style=\"max-width: 608px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg\" alt=\"An unkempt young white man with messy shoulder length hair looks into a camera. He is sitting in a white living room.\" width=\"608\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg 608w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8-160x90.jpg 160w\" sizes=\"(max-width: 608px) 100vw, 608px\">\u003cfigcaption class=\"wp-caption-text\">YouTube star and documentary film-maker Andrew Callaghan has publicly apologized after women came forward to say he sexually assaulted or coerced them.\u003c/figcaption>\u003c/figure>\n\u003cp>Callaghan is a self-styled journalist for the digital age whose irreverent YouTube videos have earned him fame across several platforms. His brand, \u003cem>Channel 5\u003c/em> news, has 600,000 followers on Instagram and another 2.25 million on YouTube.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callaghan got his start while a student at Loyola University in New Orleans, where he launched a YouTube series called \u003cem>Quarter Confessions.\u003c/em> Wearing pale suits and carrying a corded microphone, Callaghan interviewed intoxicated Bourbon Street party-goers, editing together their wildest statements with quick cuts and intentionally outdated effects.\u003c/p>\n\u003cp>In 2019, he took that style of filmmaking across the country in a beat-up RV, stopping for interviews at sites like a flat-earthers’ conference and the Talladega Speedway. The show, \u003cem>All Gas No Brakes\u003c/em>, \u003ca href=\"https://www.nytimes.com/2021/03/23/style/all-gas-no-brakes.html\">fell apart in 2021 after a contract dispute\u003c/a> with its production company, Doing Things Media.\u003c/p>\n\u003cp>Callaghan then started the Patreon-funded\u003cem> Channel 5. \u003c/em>The series has amassed over 106 million YouTube views since April 2021.\u003c/p>\n\u003cp>His following has only broadened since the Dec. 30 release of his first HBO documentary, \u003cem>This Place Rules, \u003c/em>which examines the cultural divisions underlying the Jan. 6 attack on the U.S. Capitol.\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/MH_rX9S6sU8'\n title='//www.youtube.com/embed/MH_rX9S6sU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In interviews with legacy journalists about his unfiltered reporting, Callaghan has defended his popularity among younger millennials and elder Gen Z’ers as a bit of media mockery in the service of media literacy.\u003c/p>\n\u003cp>He says giving airtime to fringe voices is an actual form of reporting in an age of overwhelming journalistic punditry.\u003c/p>\n\u003cp>“When there is a massive divide in America, you’re going to find interviews on the fringe,” he \u003ca href=\"https://www.npr.org/2022/12/31/1146453216/andrew-callaghan-on-new-jan-6-documentary-this-place-rules\">said in a recent interview with NPR\u003c/a>. “What we try to do is physically speak to people, actually show up and be there and ask people simple questions like, ‘What’s on your mind? How are you feeling?’”\u003c/p>\n\u003cp>He added that he lets the subjects “guide the conversation” in contrast to cable news reporters who use talking-head panels to “get the viewer as pissed off as possible.”\u003c/p>\n\u003ch3>Here’s when the allegations began to spread\u003c/h3>\n\u003cp>The claims against Callaghan began to go viral on Jan. 5, when a TikTok user who goes by the name Caroline Elise (@cornbreadasserole) posted a 2-minute video saying Callaghan pressured her into performing sexual acts with him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said Callaghan, whom she’d been messaging on Instagram, asked to stay over at her house because he’d had a falling out with a crew member.\u003c/p>\n\u003cp>“I was very clear about the fact that we are not hooking up,” she said. “He gets in my bed and wears me down to the point where I eventually do agree to do things I wasn’t proud of.”\u003c/p>\n\u003cp>On Jan. 7, she posted again, sharing screenshots of messages she exchanged with Callaghan in 2021 and a photo of them together. She also shared screenshots of at least 10 messages from people saying they’d had a similar experience with Callaghan or knew of someone who had.\u003c/p>\n\u003cp>Caroline Elise has since deleted the videos from her TikTok feed, saying the response had diminished her mental health. But other users have saved and continue to share the videos across other platforms.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/waveninja1/status/1612866496266645505\">One version of it posted to Twitter\u003c/a> has been viewed over 756,000 times. \u003ca href=\"https://www.twitch.tv/videos/1702531869\">A version shared on a Twitch livestream\u003c/a> has over 833,000 views.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Caroline Elise said she didn’t want to talk directly to NPR also for mental health reasons. She instead put us in touch with a long-time friend, whose name we’ve agreed to withhold over her fears of online harassment.\u003c/p>\n\u003cp>The friend said that Callaghan knew how Caroline Elise felt about the incident months before she’d ever posted it to TikTok. The friend shared screenshots of Instagram posts from August 2021, in which the friend warned other women in her city that Callaghan had “knowingly assaulted my friend and got away with it.”\u003c/p>\n\u003cp>The friend also shared screenshots of a text message conversation that took place between Callaghan and Caroline Elise in December 2021, after Caroline Elise had confronted Callaghan about his behavior.\u003c/p>\n\u003cp>In one long message, Callaghan said he recognized that the social power dynamics at play “can dramatically warp consent” and had tried to unpack his behavior in therapy.\u003c/p>\n\u003cp>He also said that “prior partners” from New Orleans and Nashville had reached out to him in response to the Instagram posts and had “started dialogues with him that have benefitted all our lives for the better.”\u003c/p>\n\u003cp>“I want to do whatever I possibly can to be accountable and support you in whatever way you’d like,” the message continues. “It would mean the world to me to be able to have an open conversation with you.”\u003c/p>\n\u003ch3>A second accuser claims Callaghan sexually assaulted her in 2019\u003c/h3>\n\u003cp>Caroline Elise’s video prompted another woman, a TikTok user who goes by the name Dana (@moldyfreckle), to come forward.\u003c/p>\n\u003cp>In a series of videos, Dana said Callaghan assaulted her on a drive home from dinner, first kissing her neck, then putting his hand down her pants and putting her hands on his crotch as she was telling him to stop. Callaghan left the car after she’d asked multiple times, Dana said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7186167704103996715\" data-video-id=\"7186167704103996715\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a> Part 4. This will be my last video tonight. \u003ca title=\"andrewcallaghan\" href=\"https://www.tiktok.com/tag/andrewcallaghan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#andrewcallaghan\u003c/a> \u003ca title=\"allgasnobrakes\" href=\"https://www.tiktok.com/tag/allgasnobrakes?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#allgasnobrakes\u003c/a> \u003ca title=\"thisplacerules\" href=\"https://www.tiktok.com/tag/thisplacerules?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thisplacerules\u003c/a> \u003ca title=\"channel5\" href=\"https://www.tiktok.com/tag/channel5?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#channel5\u003c/a> \u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7186167830167997226?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dana later posted a video showing screenshots of her messages with Callahan in January 2019. She hasn’t responded to multiple requests from NPR.\u003c/p>\n\u003cp>In addressing the responses to her videos, Dana dismissed ideas that she was seeking clout, money or trying to sabotage Callaghan’s success.\u003c/p>\n\u003cp>“I’m not going to let someone else go through this alone,” she said in her TikTok post, referencing Caroline’s video. “I’m just saying the truth right now and I don’t care what you believe, but I want other women who he’s affected to feel comfortable talking about it.”\u003c/p>\n\u003cp>While the stories from Dana and Caroline Elise have remained the most widely shared and commented upon, several other people have since posted in comments or videos claiming similarly pushy sexual behavior. They say their experiences with Callaghan formed a pattern.\u003c/p>\n\u003ch3>How did Callaghan respond?\u003c/h3>\n\u003cp>In a video posted to Instagram on Sunday, Callaghan thanked the people who’d spoken out about “different ways in which my behavior has made them feel uncomfortable or pressured during a sexual situation” and apologized to them, as well as his collaborators. He did not single out any particular accusations, or confirm or deny any specific accusations circulating.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He did, however, say that he thought many of the accusations were missing important contextual information.\u003c/p>\n\u003cp>“I want to make a few things clear: I’ve always taken no for an answer,” he said. “As far as consent, I’ve never overstepped that line.”\u003c/p>\n\u003cp>“Up until this point, I didn’t really realize that I had this pattern that affected multiple people,” he said, later adding that he thought going home from a bar alone “made you a loser” and that “persistence was a form of flattery.”\u003c/p>\n\u003cp>Callaghan had largely laid low online and in public \u003ca href=\"https://www.motherjones.com/politics/2023/01/this-place-rules-is-a-peoples-history-of-january-6-documentary-npr-cnn/\">since a tumultuous live interview\u003c/a> with \u003ca href=\"https://www.wbur.org/events/822709/this-place-rules-hbo-original-screening-and-conversation-with-gonzo-journalist-andrew-callaghan-on-the-jan-6-insurrection\">NPR member station WBUR\u003c/a> on Jan. 4. He explained in the video that he’d waited nearly two weeks to respond because he was in a state of shock and “spiraled into a mental health crisis.”\u003c/p>\n\u003cp>Callaghan also said he believes alcohol may have contributed to his decision-making and said that he’s planning to join a 12-step program.\u003c/p>\n\u003cp>Dana \u003ca href=\"https://www.youtube.com/watch?v=bD8g_ZfcrEo\">posted YouTube\u003c/a> and TikTok videos on Wednesday evening saying that she didn’t believe the apology was genuine and she didn’t forgive him, but also that she was finished talking about it.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7189806338938178862\" data-video-id=\"7189806338938178862\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a>\u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7189806337738443566?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m fed up, and I know other people are getting fed up,” she said. “It’s called karma. It’s not blackmail. It’s not revenge, it’s just how it goes.”\u003c/p>\n\u003cp>Caroline Elise had not publicly addressed Callaghan’s statements at the time of publication.\u003c/p>\n\u003ch3>What about the blackmail claims?\u003c/h3>\n\u003cp>Three days before Callaghan’s Instagram video, news outlets \u003ca href=\"https://www.tmz.com/2023/01/12/andrew-callaghan-all-gas-no-brakes-responds-sexual-assault-accusation/\">like TMZ\u003c/a> and \u003ca href=\"https://variety.com/2023/digital/news/andrew-callaghan-allegations-tim-heidecker-1235484693/\">\u003cem>Variety\u003c/em> \u003c/a>published portions of a statement, shared by a “legal representative” for Callaghan, which acknowledged Callaghan’s need to re-evaluate his behavior but also pointed to “multiple sides to a story.”\u003c/p>\n\u003cp>“While every dynamic is open to interpretation and proper communication is critical from all those involved, repeated requests for money should not be part of these conversations,” reads the statement, according to both outlets.\u003c/p>\n\u003cp>Neither Callaghan’s agent or publicist responded to NPR’s request for confirmation of the statement. Callaghan hasn’t responded to multiple NPR attempts to reach him through his social media.\u003c/p>\n\u003cp>Caroline Elise’s friend shared a screenshot of one message Caroline Elise sent to Callaghan six days before posting the allegations on TikTok.\u003c/p>\n\u003cp>The message includes the handle of Caroline Elise’s Venmo account. She wrote Callaghan could use it if “HBO cuts you a fat check, and you in any way feel like helping contribute to the massive amounts of therapy bills I have accrued.”\u003c/p>\n\u003cp>Caroline Elise’s friend told NPR that’s the only time Caroline Elise had brought up the prospect of him reimbursing her in their conversations together. Callaghan never responded to the text, Caroline Elise’s friend said.\u003c/p>\n\u003cp>Caroline Elise confirmed through her friend that she shared the allegation to raise awareness of Callaghan’s behavior. She has no plans to file a police report or a lawsuit, her friend told NPR.\u003c/p>\n\u003cfigure id=\"attachment_13923922\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg\" alt=\"\" width=\"591\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8-160x120.jpg 160w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot provided to NPR by a close friend of the TikTok user Caroline, who claims Andrew Callaghan coerced her into having sex in 2021. \u003ccite>(Screenshot provided to NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How did Callaghan’s fans react to the allegations?\u003c/h3>\n\u003cp>The claims, statements and reaction quickly spread on several social media platforms, where users, many of them anonymous, dissected Callaghan’s behavior in ways reminiscent of 2016’s #MeToo eruption, but with new cancel culture considerations.\u003c/p>\n\u003cp>The Reddit forum r/Channel5ive, which is in the top 5% of Reddit communities by size, was once dedicated to Callaghan fan adoration. Now it contains over 100 posts dedicated to investigating the allegations and debating which of the alleged behaviors crossed the line.\u003c/p>\n\u003cp>“Drinking with someone, inviting someone into your home, even inviting someone into your bed does not equal consent,” \u003ca href=\"https://www.reddit.com/r/Channel5ive/comments/105vp67/whatever_the_truth_is_we_as_a_community_need_to/\">wrote one user in a post\u003c/a> that received 1,100 up votes and 382 comments.\u003c/p>\n\u003cp>“I’m not saying let’s just ‘cancel’ the whole thing, but I really don’t like people saying we can just separate his journalism from his misconduct,” posted another.\u003c/p>\n\u003cp>Responding to requests by users, moderators eventually removed a Patreon link supporting Callaghan’s work and replaced it with a link to the National Women’s Law Center, which helps victims of sexual assault.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>YouTube and Twitch streamers whose audiences overlap with Callaghan’s also parsed through the allegations and apology, trying to glean universal lessons.\u003c/p>\n\u003cp>Twitch streamer Hasan Piker (@Hasanabi), who boasts 2.3 million subscribers, \u003ca href=\"https://www.youtube.com/watch?v=woYpUM0EKqg\">said in his third video mentioning the allegations\u003c/a> that Callaghan’s apology is promising but that it’s only natural that his fans wait before passing judgment.\u003c/p>\n\u003cp>“People are not going to read this with any kind of charitability,” because Callaghan hasn’t done anything yet to demonstrate how he’s changed, Piker predicted.\u003c/p>\n\u003ch3>What does this mean for ‘Channel 5’ and Callaghan’s work?\u003c/h3>\n\u003cp>In his video apology, Callaghan said he wasn’t sure what comes next, but he wanted to take a step back from public life while he processed his behavior.\u003c/p>\n\u003cp>“I’m only 25 years old and I have my whole life ahead of me,” he said, adding that reporting was still his first love.\u003c/p>\n\u003cp>Tim Heidecker, a comedian who helped produce \u003cem>This Place Rules\u003c/em>, addressed the allegations on \u003ca href=\"https://podcasts.apple.com/us/podcast/234-atsuko-okatsuka/id1153746716?i=1000594133836\">his \u003cem>Office Hours\u003c/em> podcast last Thursday\u003c/a> by saying he had no plans to collaborate with Callaghan again in the future.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We have no professional relationship with Andrew at this time and have no plans to have any relationship with him,” Heidecker said, speaking on behalf of his comedy and production partner, Eric Wareheim.\u003c/p>\n\u003cp>A publicist for Heidecker and Wareheim told NPR the pair had no updated comments on Callaghan’s apology. The press offices for A24 and HBO did not respond to NPR’s requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The YouTube page for \u003cem>Channel 5\u003c/em>, which had been sharing clips from \u003cem>This Place Rules\u003c/em> for the last three weeks, hasn’t posted a new video since the week the allegations surfaced.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=A+full+guide+to+the+sexual+misconduct+allegations+against+YouTuber+Andrew+Callaghan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Walking Dead. Fear the Walking Dead. Y: The Last Man. The Passage. The Strain. The Stand. Sweet Tooth. Invasion. Station Zero. Resident Evil.\u003c/em>\u003c/p>\n\u003cp>Given the glut of post-apocalyptic fare that television has been serving up over just the past few years, you’d be forgiven for approaching HBO’s \u003cem>The Last of Us\u003c/em> with a skeptical mind. Some not-insignificant percentage of potential viewers, upon learning that the series is based on a video game, will adopt a kind of mental defensive crouch. (To be clear, these people have never played the excellent, heart-wrenching video game(s) in question.)\u003c/p>\n\u003cp>[aside postid='arts_13923488']\u003cem>What is there new to say?\u003c/em> is a valid question. \u003cem>Or, for that matter, to show?\u003c/em> There is a limit, after all, to the number of times one can watch grizzled, greasy-haired bands of armed survivors who look as if they smell like a particularly runny cheese tiptoeing through crumbling cityscapes overrun with lush vegetation before one concludes, “No, yeah, I got it, thanks.”\u003c/p>\n\u003cp>\u003cem>The Last of Us \u003c/em>contains several such sequences, and others that prove similarly familiar: Militarized outposts imposing martial law. Idyllic pockets of civilization that Hide a Dark Secret\u003csup>TM\u003c/sup>. Mistrust. Violence. The horror of realizing that a loved one has been infected, followed by the grim acknowledgement of what must be done about it.\u003c/p>\n\u003cp>But these are all genre trappings, the parameters that any post-apocalypse show and its viewers agree to establish, and work within. You don’t go into a science fiction series and roll your eyes at every spaceship, do you? Or sneer every time a forensic investigator busts out the luminol?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, what matters is what takes place within its genre conventions — the precise narrative fuel mixture that drives the show in question: Are the zombies/vampires/mutants/cannibals/militias the real stars of the series, or does it belong to the survivors?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs entirely, gratifyingly, to the survivors — two in particular. There’s laconic, hard-bitten (but not yet \u003cem>actually \u003c/em>bitten) Joel, played by Pedro Pascal, and young Ellie, played by Bella Ramsey — she may carry the future of humanity in her blood. They join up to trek across the country with tangentially related agendas — he to find his brother, she to find a lab where scientists may figure out a way to replicate her mysterious immunity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uLtkt8BonwM\u003c/p>\n\u003cp>Along the way, they encounter quasi-fascist government operatives (“FEDRA”), antigovernmental freedom-fighter/terrorists (“Fireflies”), raiders, revolutionaries and some friendly faces as well. The series is confident enough to give two such allies — a doomsday prepper played by Nick Offerman and a sly charmer played by Murray Bartlett — the screen time necessary for us to grow emotionally invested in their fates. That confidence proves well-earned, as Offerman and Bartlett turn in the season’s highlight episode.\u003c/p>\n\u003cp>Of course, there’s plenty of scenes where our hardy heroes fight or evade the various fungi-festooned monsters dutifully reproduced from the video games — runners, stalkers, shamblers and, most memorably, clickers (whose heads have turned into toadstools, and who echolocate their prey via some seriously unnerving sound design).\u003c/p>\n\u003cp>[aside postid='pop_104874']But \u003cem>The Last of Us\u003c/em> of is about those assorted mushroom-baddies in exactly the same way that \u003cem>The Sopranos\u003c/em> was about RICO charges. Which is to say — they’re a threat, yes, and they loom ever-present, but the show’s really about what the characters do despite them.\u003c/p>\n\u003cp>And what they do, on \u003cem>The Last of Us\u003c/em> at least, is grow deeper and more complex in meaningful ways. Pascal plays Joel in the early episodes as if he’s encased his heart in his beskar steel armor from \u003cem>The Mandalorian\u003c/em>, but as his connection to Ellie grows, he starts talking more — \u003cem>risking \u003c/em>more, emotionally, in every scene — and it lands on us with a satisfying heft.\u003c/p>\n\u003cp>Ramsey’s young Lady Mormont was a heartening surprise back on \u003cem>Game of Thrones\u003c/em>, but that character was written to do one thing — be a badass — and Ramsey did it well. Last year, in Lena Dunham’s \u003cem>Catherine Called Birdy\u003c/em>, she got to show us a good deal more. Even so, she’s an absolute revelation here, investing Ellie with a toughness that manages to carve out plenty of room for vulnerability, teenage silliness, the pangs of first love, grief, rage and steely resolution.\u003c/p>\n\u003cp>Some may balk at the series’ choice to spend so much time showing us two people learning to rely on each other, instead of throwing ceaseless hordes of CGI-enhanced fungal foes at them. But by allowing the monsters to serve chiefly as catalysts to the complex emotional reactions of its characters, \u003cem>The Last of Us\u003c/em> accomplishes what \u003cem>Station Eleven\u003c/em> did last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a hopeful show about the end of humanity — one that manages to find, and nurture, moments of grace amid the ruins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=At+the+end+of+humanity%2C+%27The+Last+of+Us%27+locates+what+makes+us+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Walking Dead. Fear the Walking Dead. Y: The Last Man. The Passage. The Strain. The Stand. Sweet Tooth. Invasion. Station Zero. Resident Evil.\u003c/em>\u003c/p>\n\u003cp>Given the glut of post-apocalyptic fare that television has been serving up over just the past few years, you’d be forgiven for approaching HBO’s \u003cem>The Last of Us\u003c/em> with a skeptical mind. Some not-insignificant percentage of potential viewers, upon learning that the series is based on a video game, will adopt a kind of mental defensive crouch. (To be clear, these people have never played the excellent, heart-wrenching video game(s) in question.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>What is there new to say?\u003c/em> is a valid question. \u003cem>Or, for that matter, to show?\u003c/em> There is a limit, after all, to the number of times one can watch grizzled, greasy-haired bands of armed survivors who look as if they smell like a particularly runny cheese tiptoeing through crumbling cityscapes overrun with lush vegetation before one concludes, “No, yeah, I got it, thanks.”\u003c/p>\n\u003cp>\u003cem>The Last of Us \u003c/em>contains several such sequences, and others that prove similarly familiar: Militarized outposts imposing martial law. Idyllic pockets of civilization that Hide a Dark Secret\u003csup>TM\u003c/sup>. Mistrust. Violence. The horror of realizing that a loved one has been infected, followed by the grim acknowledgement of what must be done about it.\u003c/p>\n\u003cp>But these are all genre trappings, the parameters that any post-apocalypse show and its viewers agree to establish, and work within. You don’t go into a science fiction series and roll your eyes at every spaceship, do you? Or sneer every time a forensic investigator busts out the luminol?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, what matters is what takes place within its genre conventions — the precise narrative fuel mixture that drives the show in question: Are the zombies/vampires/mutants/cannibals/militias the real stars of the series, or does it belong to the survivors?\u003c/p>\n\u003cp>\u003cem>The Last of Us\u003c/em> belongs entirely, gratifyingly, to the survivors — two in particular. There’s laconic, hard-bitten (but not yet \u003cem>actually \u003c/em>bitten) Joel, played by Pedro Pascal, and young Ellie, played by Bella Ramsey — she may carry the future of humanity in her blood. They join up to trek across the country with tangentially related agendas — he to find his brother, she to find a lab where scientists may figure out a way to replicate her mysterious immunity.\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/uLtkt8BonwM'\n title='//www.youtube.com/embed/uLtkt8BonwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Along the way, they encounter quasi-fascist government operatives (“FEDRA”), antigovernmental freedom-fighter/terrorists (“Fireflies”), raiders, revolutionaries and some friendly faces as well. The series is confident enough to give two such allies — a doomsday prepper played by Nick Offerman and a sly charmer played by Murray Bartlett — the screen time necessary for us to grow emotionally invested in their fates. That confidence proves well-earned, as Offerman and Bartlett turn in the season’s highlight episode.\u003c/p>\n\u003cp>Of course, there’s plenty of scenes where our hardy heroes fight or evade the various fungi-festooned monsters dutifully reproduced from the video games — runners, stalkers, shamblers and, most memorably, clickers (whose heads have turned into toadstools, and who echolocate their prey via some seriously unnerving sound design).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>The Last of Us\u003c/em> of is about those assorted mushroom-baddies in exactly the same way that \u003cem>The Sopranos\u003c/em> was about RICO charges. Which is to say — they’re a threat, yes, and they loom ever-present, but the show’s really about what the characters do despite them.\u003c/p>\n\u003cp>And what they do, on \u003cem>The Last of Us\u003c/em> at least, is grow deeper and more complex in meaningful ways. Pascal plays Joel in the early episodes as if he’s encased his heart in his beskar steel armor from \u003cem>The Mandalorian\u003c/em>, but as his connection to Ellie grows, he starts talking more — \u003cem>risking \u003c/em>more, emotionally, in every scene — and it lands on us with a satisfying heft.\u003c/p>\n\u003cp>Ramsey’s young Lady Mormont was a heartening surprise back on \u003cem>Game of Thrones\u003c/em>, but that character was written to do one thing — be a badass — and Ramsey did it well. Last year, in Lena Dunham’s \u003cem>Catherine Called Birdy\u003c/em>, she got to show us a good deal more. Even so, she’s an absolute revelation here, investing Ellie with a toughness that manages to carve out plenty of room for vulnerability, teenage silliness, the pangs of first love, grief, rage and steely resolution.\u003c/p>\n\u003cp>Some may balk at the series’ choice to spend so much time showing us two people learning to rely on each other, instead of throwing ceaseless hordes of CGI-enhanced fungal foes at them. But by allowing the monsters to serve chiefly as catalysts to the complex emotional reactions of its characters, \u003cem>The Last of Us\u003c/em> accomplishes what \u003cem>Station Eleven\u003c/em> did last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a hopeful show about the end of humanity — one that manages to find, and nurture, moments of grace amid the ruins.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=At+the+end+of+humanity%2C+%27The+Last+of+Us%27+locates+what+makes+us+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Everyone is Talking About Negroni Sbagliato — And How to Make Your Own",
"headTitle": "Why Everyone is Talking About Negroni Sbagliato — And How to Make Your Own | KQED",
"content": "\u003cp>Move over, Aperol spritz. The reign of Negroni sbagliato has just begun.\u003c/p>\n\u003cp>The cocktail — made with Campari, sweet vermouth, and sparkling wine instead of the traditional gin — has taken over social media, thanks to a \u003ca href=\"https://www.tiktok.com/@hbomax/video/7149523510589754670?_r=1&_t=8WQ7RsdTACM&is_from_webapp=v1&item_id=7149523510589754670\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes interview\u003c/a> promoting \u003cem>House of the Dragon\u003c/em> on HBO’s TikTok account.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@hbomax/video/7149523510589754670\" data-video-id=\"7149523510589754670\">\n\u003csection>\u003ca title=\"@hbomax\" href=\"https://www.tiktok.com/@hbomax?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@hbomax\u003c/a> I’ll take one of each. \u003ca title=\"houseofthedragon\" href=\"https://www.tiktok.com/tag/houseofthedragon?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#houseofthedragon\u003c/a> \u003ca title=\"♬ a negroni sbagliato w prosecco l hbo max - hbomax\" href=\"https://www.tiktok.com/music/a-negroni-sbagliato-w-prosecco-l-hbo-max-7149523537730997035?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ a negroni sbagliato w prosecco l hbo max – hbomax\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>In the clip, stars Emma D’Arcy and Olivia Cooke — who play the feuding Princess Rhaenyra and Queen Alicent respectively — are asking each other about their drink of choice in real life.\u003c/p>\n\u003cp>D’Arcy, who’s nonbinary, says they prefer a Negroni, before adding “\u003cem>sbagliato\u003c/em>” in their signature breathy voice. The actor then raises their eyebrows, leans in closer, and flirtatiously explains that it means “with prosecco in it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cooke responds with an enthralled “Ooh, stunning.”\u003c/p>\n\u003cp>The interaction immediately went viral, especially among queer fans.\u003c/p>\n\u003cp>https://twitter.com/sckberry/status/1579469179534860294\u003c/p>\n\u003ch3>Bars are getting flooded with orders\u003c/h3>\n\u003cp>More than 15,000 TikTok videos have been posted using the original sound from the D’Arcy and Cooke interview, racking up millions of views.\u003c/p>\n\u003cp>Now, social media is full of people promising to rush to their local bar to order a “Negroni sbagliato with prosecco in it.” Mixologists and lifestyle accounts are \u003ca href=\"https://www.tiktok.com/@join_jules/video/7152252066084228395?_r=1&_t=8WQA8P9FPFi&is_from_webapp=v1&item_id=7152252066084228395\" target=\"_blank\" rel=\"noopener noreferrer\">sharing recipes.\u003c/a>\u003c/p>\n\u003cp>And bartenders are joking about needing to stock up on ingredients before there’s a shortage (which has happened before when other TikTok recipes went viral, with ingredients such as \u003ca href=\"https://www.eater.com/22832651/viral-tiktok-recipes-food-shortages\" target=\"_blank\" rel=\"noopener noreferrer\">Kewpie mayo and feta cheese\u003c/a>).\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@raynemcgowan/video/7152957536277286190\" data-video-id=\"7152957536277286190\">\n\u003csection>\u003ca title=\"@raynemcgowan\" href=\"https://www.tiktok.com/@raynemcgowan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@raynemcgowan\u003c/a> negroni 🔥 spagliato🔥🔥with prosecco in it 🥵 \u003ca title=\"wlwtiktok\" href=\"https://www.tiktok.com/tag/wlwtiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#wlwtiktok\u003c/a> \u003ca title=\"lesbiansoftiktok\" href=\"https://www.tiktok.com/tag/lesbiansoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#lesbiansoftiktok\u003c/a> \u003ca title=\"emmadarcy\" href=\"https://www.tiktok.com/tag/emmadarcy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#emmadarcy\u003c/a> \u003ca title=\"cubbyholenyc\" href=\"https://www.tiktok.com/tag/cubbyholenyc?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#cubbyholenyc\u003c/a> \u003ca title=\"♬ original sound - Rayne McGowan\" href=\"https://www.tiktok.com/music/original-sound-7152957575422593834?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rayne McGowan\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003ch3>But the meme is a bit of a misnomer\u003c/h3>\n\u003cp>While fans will forever know the meme as “Negroni… \u003cem>sbagliato… \u003c/em>with prosecco in it,” that’s not how someone would usually order it.\u003c/p>\n\u003cp>Sbagliato means “mistaken” or “broken” in Italian — a reference to substituting the gin in a traditional Negroni for sparkling wine. So saying “with prosecco” is \u003ca href=\"https://www.tiktok.com/@leah.kilpatrick/video/7152343541237452078?_r=1&_t=8WQA4RFHcEg&is_from_webapp=v1&item_id=7152343541237452078\" target=\"_blank\" rel=\"noopener noreferrer\">redundant\u003c/a>.\u003c/p>\n\u003cp>You can just order it as a sbagliato, experts say. Here’s \u003ca href=\"https://www.youtube.com/watch?v=_R5DKp2dwr0\" target=\"_blank\" rel=\"noopener noreferrer\">an example\u003c/a> of how to pronounce it.\u003c/p>\n\u003cp>https://twitter.com/jillboard/status/1579581191195619328\u003c/p>\n\u003ch3>How to make your own mistake\u003c/h3>\n\u003cp>If you want to give the sbagliato a whirl from the comfort of your own home — perhaps this Sunday while you’re watching \u003cem>House of the Dragon\u003c/em> — here’s what you’ll need.\u003c/p>\n\u003cp>The cocktail itself is simple. You’ll need three ingredients: Campari, sweet vermouth and prosecco. Some recipes suggest an equal 1:1:1 ratio, but you may want to adjust to your personal taste.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A quick recipe:\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>Add ice to your glass.\u003c/li>\n\u003cli>Pour in 1.5 oz of sweet vermouth.\u003c/li>\n\u003cli>Add 1.5 oz of Campari and stir.\u003c/li>\n\u003cli>Top off your glass with prosecco.\u003c/li>\n\u003cli>Add a slice of orange for garnish, if you’re so inclined.\u003c/li>\n\u003cli>Get in there and make Emma proud.\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=Why+everyone+is+talking+about+Negroni+sbagliato+%E2%80%94+and+how+to+make+your+own&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Move over, Aperol spritz. The reign of Negroni sbagliato has just begun.\u003c/p>\n\u003cp>The cocktail — made with Campari, sweet vermouth, and sparkling wine instead of the traditional gin — has taken over social media, thanks to a \u003ca href=\"https://www.tiktok.com/@hbomax/video/7149523510589754670?_r=1&_t=8WQ7RsdTACM&is_from_webapp=v1&item_id=7149523510589754670\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes interview\u003c/a> promoting \u003cem>House of the Dragon\u003c/em> on HBO’s TikTok account.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@hbomax/video/7149523510589754670\" data-video-id=\"7149523510589754670\">\n\u003csection>\u003ca title=\"@hbomax\" href=\"https://www.tiktok.com/@hbomax?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@hbomax\u003c/a> I’ll take one of each. \u003ca title=\"houseofthedragon\" href=\"https://www.tiktok.com/tag/houseofthedragon?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#houseofthedragon\u003c/a> \u003ca title=\"♬ a negroni sbagliato w prosecco l hbo max - hbomax\" href=\"https://www.tiktok.com/music/a-negroni-sbagliato-w-prosecco-l-hbo-max-7149523537730997035?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ a negroni sbagliato w prosecco l hbo max – hbomax\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the clip, stars Emma D’Arcy and Olivia Cooke — who play the feuding Princess Rhaenyra and Queen Alicent respectively — are asking each other about their drink of choice in real life.\u003c/p>\n\u003cp>D’Arcy, who’s nonbinary, says they prefer a Negroni, before adding “\u003cem>sbagliato\u003c/em>” in their signature breathy voice. The actor then raises their eyebrows, leans in closer, and flirtatiously explains that it means “with prosecco in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cooke responds with an enthralled “Ooh, stunning.”\u003c/p>\n\u003cp>The interaction immediately went viral, especially among queer fans.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Bars are getting flooded with orders\u003c/h3>\n\u003cp>More than 15,000 TikTok videos have been posted using the original sound from the D’Arcy and Cooke interview, racking up millions of views.\u003c/p>\n\u003cp>Now, social media is full of people promising to rush to their local bar to order a “Negroni sbagliato with prosecco in it.” Mixologists and lifestyle accounts are \u003ca href=\"https://www.tiktok.com/@join_jules/video/7152252066084228395?_r=1&_t=8WQA8P9FPFi&is_from_webapp=v1&item_id=7152252066084228395\" target=\"_blank\" rel=\"noopener noreferrer\">sharing recipes.\u003c/a>\u003c/p>\n\u003cp>And bartenders are joking about needing to stock up on ingredients before there’s a shortage (which has happened before when other TikTok recipes went viral, with ingredients such as \u003ca href=\"https://www.eater.com/22832651/viral-tiktok-recipes-food-shortages\" target=\"_blank\" rel=\"noopener noreferrer\">Kewpie mayo and feta cheese\u003c/a>).\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@raynemcgowan/video/7152957536277286190\" data-video-id=\"7152957536277286190\">\n\u003csection>\u003ca title=\"@raynemcgowan\" href=\"https://www.tiktok.com/@raynemcgowan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@raynemcgowan\u003c/a> negroni 🔥 spagliato🔥🔥with prosecco in it 🥵 \u003ca title=\"wlwtiktok\" href=\"https://www.tiktok.com/tag/wlwtiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#wlwtiktok\u003c/a> \u003ca title=\"lesbiansoftiktok\" href=\"https://www.tiktok.com/tag/lesbiansoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#lesbiansoftiktok\u003c/a> \u003ca title=\"emmadarcy\" href=\"https://www.tiktok.com/tag/emmadarcy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#emmadarcy\u003c/a> \u003ca title=\"cubbyholenyc\" href=\"https://www.tiktok.com/tag/cubbyholenyc?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#cubbyholenyc\u003c/a> \u003ca title=\"♬ original sound - Rayne McGowan\" href=\"https://www.tiktok.com/music/original-sound-7152957575422593834?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Rayne McGowan\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>But the meme is a bit of a misnomer\u003c/h3>\n\u003cp>While fans will forever know the meme as “Negroni… \u003cem>sbagliato… \u003c/em>with prosecco in it,” that’s not how someone would usually order it.\u003c/p>\n\u003cp>Sbagliato means “mistaken” or “broken” in Italian — a reference to substituting the gin in a traditional Negroni for sparkling wine. So saying “with prosecco” is \u003ca href=\"https://www.tiktok.com/@leah.kilpatrick/video/7152343541237452078?_r=1&_t=8WQA4RFHcEg&is_from_webapp=v1&item_id=7152343541237452078\" target=\"_blank\" rel=\"noopener noreferrer\">redundant\u003c/a>.\u003c/p>\n\u003cp>You can just order it as a sbagliato, experts say. Here’s \u003ca href=\"https://www.youtube.com/watch?v=_R5DKp2dwr0\" target=\"_blank\" rel=\"noopener noreferrer\">an example\u003c/a> of how to pronounce it.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>How to make your own mistake\u003c/h3>\n\u003cp>If you want to give the sbagliato a whirl from the comfort of your own home — perhaps this Sunday while you’re watching \u003cem>House of the Dragon\u003c/em> — here’s what you’ll need.\u003c/p>\n\u003cp>The cocktail itself is simple. You’ll need three ingredients: Campari, sweet vermouth and prosecco. Some recipes suggest an equal 1:1:1 ratio, but you may want to adjust to your personal taste.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A quick recipe:\u003c/strong>\u003c/p>\n\u003col>\n\u003cli>Add ice to your glass.\u003c/li>\n\u003cli>Pour in 1.5 oz of sweet vermouth.\u003c/li>\n\u003cli>Add 1.5 oz of Campari and stir.\u003c/li>\n\u003cli>Top off your glass with prosecco.\u003c/li>\n\u003cli>Add a slice of orange for garnish, if you’re so inclined.\u003c/li>\n\u003cli>Get in there and make Emma proud.\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=Why+everyone+is+talking+about+Negroni+sbagliato+%E2%80%94+and+how+to+make+your+own&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the Investigation of Adnan Syed Became a Podcast Phenomenon",
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"content": "\u003cp>“Adnan’s case was a mess. Is a mess. That’s where we were when we stopped reporting in 2014,” says \u003cem>Serial\u003c/em> host Sarah Koenig in her straightforward, personal style in the new episode titled “\u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adnan is Out\u003c/a>.”\u003c/p>\n\u003cp>In 2014, over the course of 12 episodes, \u003cem>Serial\u003c/em> probed the details of the murder case of Hae Min Lee, Adnan Syed’s former girlfriend. Lee was found strangled to death in Baltimore’s Leakin Park in 1999.\u003c/p>\n\u003cp>[aside postid='pop_109009']In 2000, Syed was convicted of murdering Lee when he was 17 years old. He spent 23 years in prison. On Monday, in a Baltimore courtroom, a judge \u003ca href=\"https://www.npr.org/2022/09/19/1123878679/adnan-syed-released-serial\" target=\"_blank\" rel=\"noopener noreferrer\">ruled\u003c/a> to vacate his conviction.\u003c/p>\n\u003cp>Beyond the tremendous impact \u003cem>Serial\u003c/em> has had on Syed’s case and on exposing the flaws in the legal system, the podcast broke new ground in episodic, audio storytelling.\u003c/p>\n\u003cp>Created and produced by Koenig and Julie Snyder, \u003cem>Serial\u003c/em> was a spinoff of \u003ca href=\"https://www.thisamericanlife.org/about/our-other-shows#:~:text=Released%20in%2012%20episodes%2C%20Serial,more%20than%20300%20million%20downloads.\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This American Life\u003c/em>\u003c/a>. With some 300 million downloads, the first season broke podcast records and spawned a cottage industry of true crime podcasts. It won just about every major journalism award including a DuPont and a Peabody, the first ever awarded to a podcast. Koenig was named one of \u003cem>Time\u003c/em>‘s \u003ca href=\"https://time.com/collection-post/3823276/sarah-koenig-2015-time-100/\" target=\"_blank\" rel=\"noopener noreferrer\">Most Influential People\u003c/a> of 2015.\u003c/p>\n\u003cfigure id=\"attachment_13919442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-475459240_custom-a900006c0c1464b294dc3b53d78b3e441a600753-800x555.jpg\" alt=\"A woman wearing black dress, white pearls and black spectacles smiles as she holds up a trophy.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Sarah Koenig with her award at The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street in New York City on May 31, 2015. \u003ccite>(Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barry Scheck, co-director of The Innocence Project, learned about \u003cem>Serial\u003c/em> from his kids. At the time, podcasting experienced something of a generational divide. He believes dogged reporting, a reliance on experts and propulsive storytelling were key to its success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the way Koenig connected the audience with \u003cem>Serial\u003c/em>‘s reporting made for compelling listening. “One of the intriguing parts of the \u003cem>Serial\u003c/em> podcast is that everybody heard her thought processes out loud,” says Scheck, “and that’s part of the appeal of it. You know, we’re all in this together trying to think, ‘Is he innocent? Is he guilty?'”\u003c/p>\n\u003cp>There’s the story and then there’s the discussion it provoked. In the case of \u003cem>Serial\u003c/em>, they worked in tandem.\u003c/p>\n\u003cp>[aside postid='pop_19352']The \u003cem>Serial\u003c/em> phenomenon was not just about trying to solve the crime itself. It was also about the vast community devouring each episode and then picking it apart online. Journalists at \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2014/12/serial-episode-10-cristinas-world/383432/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> blogged about it. \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener noreferrer\">A place to discuss Serial: The Podcast\u003c/a> on Reddit reached more than 72,000 members.\u003c/p>\n\u003cp>As Christopher Dunn, Legal Director of the New York Civil Liberties Union, \u003ca href=\"https://www.nyclu.org/en/publications/column-serial-podcast-and-disparate-impact-civil-rights-and-real-world-new-york-law\" target=\"_blank\" rel=\"noopener noreferrer\">marveled\u003c/a> in 2015, \u003cem>Serial\u003c/em> “unleashed a spirited and wide-ranging civil rights debate on the internet,” he wrote. “Most significantly, the discussion forum Reddit, which is enormously popular with young people, exploded with commentary from tens of thousands of people who debated and investigated every aspect of the case, many of which the podcast had not addressed.”\u003c/p>\n\u003cp>The idea to delve into Syed’s case originated with Rabia Chaudry, a lawyer and one of Syed’s friends and supporters. She pitched the idea to Koenig. As \u003cem>Serial \u003c/em>unfolded, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry blogged\u003c/a> about each episode, sharing her knowledge of the case and airing complaints about the way she felt producers were handling aspects of the story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.patheos.com/blogs/splitthemoon/2014/10/lets-give-them-something-to-talk-about/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry was also struck\u003c/a> by how her views were becoming part of the narrative. “I realized that while I and others close to Adnan were mired in the minutiae of both the case and show, we were part of that case and show for the public. \u003ca href=\"http://www.slate.com/blogs/browbeat/2014/10/27/rabia_chaudry_blogs_about_adnan_syed_and_recaps_the_serial_podcast_on_split.html\" target=\"_blank\" rel=\"noopener noreferrer\">Our interactions online were being discussed\u003c/a>, we were being judged and assessed, we were adding both entertainment and substantive value to the discourse. We were also characters in the larger story,” she wrote.\u003c/p>\n\u003cp>Chaudry went on to write her book and produce a podcast about Syed. She’s also an Executive Producer on \u003ca href=\"https://www.hbo.com/the-case-against-adnan-syed\">\u003cem>The Case Against Adnan Syed\u003c/em>\u003c/a>, a four-part HBO documentary series.\u003c/p>\n\u003cp>While Scheck is pleased to see all of the other true crime podcasts \u003cem>Serial\u003c/em> inspired, he urges caution to anyone who thinks it’s easy to do it well.\u003c/p>\n\u003cp>[aside postid='pop_14701']“It’s one thing to have a podcast and try to tell a story. It’s quite another to get into the business of exposing a wrongful conviction,” he says.\u003c/p>\n\u003cp>Scheck says \u003cem>Serial\u003c/em> benefitted from a team that knew what they didn’t know.\u003c/p>\n\u003cp>“What was great about \u003cem>Serial\u003c/em> is that they made no pretense at every turn,” says Scheck. “They were trying to turn to investigators, they were trying to turn to experts. They were relying on the audience for leads. And they went about it in a very professional way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To say it was addictive is an understatement,” Scottish actor Ewan McGregor wrote in \u003cem>Time’s Most Influential People\u003c/em> entry for Sarah Koenig. “Suddenly, investigative journalism became our hobby, our passion. People were talking about it everywhere you went. It was a true cultural phenomenon.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" 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=How+the+investigation+of+Adnan+Syed+became+a+podcast+phenomenon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2000, Syed was convicted of murdering Lee when he was 17 years old. He spent 23 years in prison. On Monday, in a Baltimore courtroom, a judge \u003ca href=\"https://www.npr.org/2022/09/19/1123878679/adnan-syed-released-serial\" target=\"_blank\" rel=\"noopener noreferrer\">ruled\u003c/a> to vacate his conviction.\u003c/p>\n\u003cp>Beyond the tremendous impact \u003cem>Serial\u003c/em> has had on Syed’s case and on exposing the flaws in the legal system, the podcast broke new ground in episodic, audio storytelling.\u003c/p>\n\u003cp>Created and produced by Koenig and Julie Snyder, \u003cem>Serial\u003c/em> was a spinoff of \u003ca href=\"https://www.thisamericanlife.org/about/our-other-shows#:~:text=Released%20in%2012%20episodes%2C%20Serial,more%20than%20300%20million%20downloads.\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This American Life\u003c/em>\u003c/a>. With some 300 million downloads, the first season broke podcast records and spawned a cottage industry of true crime podcasts. It won just about every major journalism award including a DuPont and a Peabody, the first ever awarded to a podcast. Koenig was named one of \u003cem>Time\u003c/em>‘s \u003ca href=\"https://time.com/collection-post/3823276/sarah-koenig-2015-time-100/\" target=\"_blank\" rel=\"noopener noreferrer\">Most Influential People\u003c/a> of 2015.\u003c/p>\n\u003cfigure id=\"attachment_13919442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-475459240_custom-a900006c0c1464b294dc3b53d78b3e441a600753-800x555.jpg\" alt=\"A woman wearing black dress, white pearls and black spectacles smiles as she holds up a trophy.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Sarah Koenig with her award at The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street in New York City on May 31, 2015. \u003ccite>(Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barry Scheck, co-director of The Innocence Project, learned about \u003cem>Serial\u003c/em> from his kids. At the time, podcasting experienced something of a generational divide. He believes dogged reporting, a reliance on experts and propulsive storytelling were key to its success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the way Koenig connected the audience with \u003cem>Serial\u003c/em>‘s reporting made for compelling listening. “One of the intriguing parts of the \u003cem>Serial\u003c/em> podcast is that everybody heard her thought processes out loud,” says Scheck, “and that’s part of the appeal of it. You know, we’re all in this together trying to think, ‘Is he innocent? Is he guilty?'”\u003c/p>\n\u003cp>There’s the story and then there’s the discussion it provoked. In the case of \u003cem>Serial\u003c/em>, they worked in tandem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Serial\u003c/em> phenomenon was not just about trying to solve the crime itself. It was also about the vast community devouring each episode and then picking it apart online. Journalists at \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2014/12/serial-episode-10-cristinas-world/383432/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> blogged about it. \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener noreferrer\">A place to discuss Serial: The Podcast\u003c/a> on Reddit reached more than 72,000 members.\u003c/p>\n\u003cp>As Christopher Dunn, Legal Director of the New York Civil Liberties Union, \u003ca href=\"https://www.nyclu.org/en/publications/column-serial-podcast-and-disparate-impact-civil-rights-and-real-world-new-york-law\" target=\"_blank\" rel=\"noopener noreferrer\">marveled\u003c/a> in 2015, \u003cem>Serial\u003c/em> “unleashed a spirited and wide-ranging civil rights debate on the internet,” he wrote. “Most significantly, the discussion forum Reddit, which is enormously popular with young people, exploded with commentary from tens of thousands of people who debated and investigated every aspect of the case, many of which the podcast had not addressed.”\u003c/p>\n\u003cp>The idea to delve into Syed’s case originated with Rabia Chaudry, a lawyer and one of Syed’s friends and supporters. She pitched the idea to Koenig. As \u003cem>Serial \u003c/em>unfolded, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry blogged\u003c/a> about each episode, sharing her knowledge of the case and airing complaints about the way she felt producers were handling aspects of the story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.patheos.com/blogs/splitthemoon/2014/10/lets-give-them-something-to-talk-about/\" target=\"_blank\" rel=\"noopener noreferrer\">Chaudry was also struck\u003c/a> by how her views were becoming part of the narrative. “I realized that while I and others close to Adnan were mired in the minutiae of both the case and show, we were part of that case and show for the public. \u003ca href=\"http://www.slate.com/blogs/browbeat/2014/10/27/rabia_chaudry_blogs_about_adnan_syed_and_recaps_the_serial_podcast_on_split.html\" target=\"_blank\" rel=\"noopener noreferrer\">Our interactions online were being discussed\u003c/a>, we were being judged and assessed, we were adding both entertainment and substantive value to the discourse. We were also characters in the larger story,” she wrote.\u003c/p>\n\u003cp>Chaudry went on to write her book and produce a podcast about Syed. She’s also an Executive Producer on \u003ca href=\"https://www.hbo.com/the-case-against-adnan-syed\">\u003cem>The Case Against Adnan Syed\u003c/em>\u003c/a>, a four-part HBO documentary series.\u003c/p>\n\u003cp>While Scheck is pleased to see all of the other true crime podcasts \u003cem>Serial\u003c/em> inspired, he urges caution to anyone who thinks it’s easy to do it well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s one thing to have a podcast and try to tell a story. It’s quite another to get into the business of exposing a wrongful conviction,” he says.\u003c/p>\n\u003cp>Scheck says \u003cem>Serial\u003c/em> benefitted from a team that knew what they didn’t know.\u003c/p>\n\u003cp>“What was great about \u003cem>Serial\u003c/em> is that they made no pretense at every turn,” says Scheck. “They were trying to turn to investigators, they were trying to turn to experts. They were relying on the audience for leads. And they went about it in a very professional way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To say it was addictive is an understatement,” Scottish actor Ewan McGregor wrote in \u003cem>Time’s Most Influential People\u003c/em> entry for Sarah Koenig. “Suddenly, investigative journalism became our hobby, our passion. People were talking about it everywhere you went. It was a true cultural phenomenon.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.patheos.com/blogs/splitthemoon/category/adnan-syed/\" 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=How+the+investigation+of+Adnan+Syed+became+a+podcast+phenomenon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Should You Watch the 'Game of Thrones' Spinoff?",
"headTitle": "Should You Watch the ‘Game of Thrones’ Spinoff? | KQED",
"content": "\u003cp>Whether or not you, dear reader, should choose to dive into HBO’s \u003cem>House of the Dragon \u003c/em>when it debuts Sunday night depends entirely on your attitude toward the series it serves as a prequel to, \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\" target=\"_blank\" rel=\"noopener noreferrer\">I recapped \u003cem>GoT\u003c/em> for NPR\u003c/a>, which meant I heard from folks who loved it and stuck with it to the end. (I’ll be recapping \u003cem>House of the Dragon\u003c/em> too, starting Sunday).\u003c/p>\n\u003cp>[aside postid='pop_110675']But mostly, and in far greater numbers, I heard from people who seemed inordinately eager to inform me that they \u003cem>weren’t \u003c/em>watching, or had abruptly \u003cem>stopped \u003c/em>watching, or who only kept watching through gritted teeth, seething all the while.\u003c/p>\n\u003cp>They all had their reasons for the positions they took up, and they weren’t as diverse as you might think. That got me thinking: on the eve of \u003cem>House of the Dragon\u003c/em>‘s debut, perhaps I could be of service.\u003c/p>\n\u003cp>So let’s do this: Simply scan the list below for the critique that best approximates your own attitude toward \u003cem>Game of Thrones\u003c/em>, and find out how—or whether—\u003cem>House of the Dragon \u003c/em>responds to it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>1. I loved \u003c/strong>\u003cem>\u003cstrong>Game of Thrones!\u003c/strong>\u003c/em>\u003cstrong> Ate it up with a big ol’ spoon! All the way through! \u003c/strong>\u003c/p>\n\u003cp>What, really? Wow, so \u003cem>you’re \u003c/em>the one. Uh. Okay then, just … go nuts. You’ll eat up \u003cem>House of the Dragon\u003c/em> with that very same spoon. It’s more of what you love. Enjoy!\u003c/p>\n\u003cp>\u003cstrong>2. I tried, I really did, but I just couldn’t keep track of everything. All those names, all those places, all those competing factions. And why were so many of the characters a bunch of beardy, brown-haired, middle-aged white dudes who looked alike? How was that fair?\u003c/strong>\u003c/p>\n\u003cp>First off, \u003cem>House of the Dragon\u003c/em> is set about 200 years before the events of \u003cem>Game of Thrones\u003c/em>, so you don’t need to worry about any of those beardy white dudes; they haven’t been born yet.\u003c/p>\n\u003cp>Think of it this way: \u003cem>House of the Dragon\u003c/em> is the story of a war over succession. It’s the War of the Roses, basically. If you can follow Shakespeare’s history plays, if you can read \u003cem>Wolf Hall\u003c/em>, you can get this. Because where \u003cem>Game of Thrones\u003c/em> depicted an extended jockeying for power among numerous kingdoms and Houses—Starks vs. Lannisters vs. Baratheons vs. Boltons vs. Pykes, etc.—on \u003cem>House of the Dragon\u003c/em>, the main conflict takes place within a single family, so there’s fewer competing factions to keep track of.\u003c/p>\n\u003cfigure id=\"attachment_13917875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png\" alt=\"A middle aged man with long white hair wearing robes and a crown.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) has got plenty of male hair but no male heir on ‘House of the Dragon.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the good news. The bad news: Swap beardy, brown-haired, middle-aged white dudes for a lot of folk sporting the same flowing platinum wig, because the single family is question is the Targaryens. They’re the ones with that white-blond hair, and the cheekbones. They tend to intermarry, and they have a kinship with dragons.\u003c/p>\n\u003cp>Y’all remember Daenerys Targaryen, from \u003cem>Game of Thrones\u003c/em>. Played by Emilia Clarke, she was the one in the less-than-convincing platinum wig, the Mother of Dragons. She spent most of the series in exile, working to build an army so she could take back the Iron Throne that her father, The Mad King, had lost. She was basically the last Targaryen.\u003c/p>\n\u003cp>\u003cem>House of the Dragon\u003c/em>, conversely, is set back at the height of the Targaryen Dynasty, when the family is still the most powerful force in the world, because they’re \u003cem>lousy \u003c/em>with dragons.\u003c/p>\n\u003cp>\u003cstrong>3. I started watching \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong>, but I couldn’t stomach the violence. Not for me.\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13916622']Then \u003cem>House of the Dragon\u003c/em> is also not for you. Life in Westeros is even more nasty, brutish and short than it was in \u003cem>Game of Thrones\u003c/em>, and the gore is just as intense. It doesn’t all come in the same form—it’s not all lopped heads and hacked limbs, though there’s plenty of those. The first episode features a particularly grisly depiction of how dangerous childbirth can be, even in a world of magic.\u003c/p>\n\u003cp>\u003cstrong>4. Despite characters like Arya, Cersei and Sansa, \u003c/strong>\u003cem>\u003cstrong>Game of Thrones\u003c/strong>\u003c/em>\u003cstrong> tended to treat women, especially background characters, as dehumanized objects to be leered at. \u003c/strong>\u003c/p>\n\u003cp>Yeah, the show came in for some fair critiques about that. And while there are still plenty of boobs and butts in \u003cem>House of the Dragon\u003c/em>, especially in brothel scenes, it feels less gratuitous, more equal opportunity. Your mileage may vary, of course.\u003c/p>\n\u003cp>\u003cstrong>5. I liked \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong> when it started out and stuck to palace intrigue and battles between kingdoms. But then it all became about the fantasy stuff—magic and dragons and snow zombies—and it lost me. \u003c/strong>\u003c/p>\n\u003cp>I don’t know what to tell you, my guy, but it’s right there in the name: \u003cem>House of the Dragon\u003c/em>. This is all dragons, all the time, from the jump. So it’s probably not for you.\u003c/p>\n\u003cfigure id=\"attachment_13917876\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png\" alt=\"Close up on the face of a dragon.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of HBO’s George R.R. Martin adaptations features a dragon-drop interface. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>6. Once the series went past the story that had been laid out in George R. R. Martin’s novels, it lost me. Everything suddenly felt rushed and thin and unconvincing, and all the nuance of the books fell away. \u003c/strong>\u003c/p>\n\u003cp>This is, by far, the thing I heard from folks most often. And we don’t need to re-litigate it here, but yeah: The showrunners of \u003cem>Game of Thrones \u003c/em>leaned out over their skis. E.L. Doctorow famously said writing a novel is like driving at night with your headlights on—you can only see a few yards ahead of you, but it’s enough to get you where you need to go. In the last couple of seasons of \u003cem>Game of Thrones\u003c/em>, the showrunners drove with their headlights off.\u003c/p>\n\u003cp>But if you’re worried about that happening with \u003cem>House of the Dragon\u003c/em>, don’t be. The series is based on a 2018 Martin book—\u003cem>Fire & Blood\u003c/em>—with a pre-existing beginning, middle and definitive end. There will be no vamping; we’re looking instead at a relatively straightforward act of adaptation.\u003c/p>\n\u003cp>I say “relatively” because \u003cem>Fire & Blood\u003c/em> is presented not as a simple narrative but as a series of conflicting historical accounts, written in different styles from different points of view.\u003c/p>\n\u003cp>And while that makes for a fun read, television has more exacting demands. Things left deliberately and tantalizingly ambiguous in the book will need to get explicitly dramatized, one way or another. The showrunners are going to have pick a side and run with it.\u003c/p>\n\u003cfigure id=\"attachment_13917864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg\" alt=\"A woman in regal robes stands before a man on an iron throne.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) and Princess Rhaenyra (Milly Alcock) have a few points to make in ‘House of the Dragon.’\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it’s entirely up to you whether you’re up for another visit to the Seven Kingdoms. Your last trip there was rough; I get that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just know that the place is under new management, and they certainly seem to want to provide you a more focused, more self-contained, more \u003cem>considered \u003c/em>tourist experience than the old crew did.\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=Should+you+watch+the+%27Game+of+Thrones%27+spinoff%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether or not you, dear reader, should choose to dive into HBO’s \u003cem>House of the Dragon \u003c/em>when it debuts Sunday night depends entirely on your attitude toward the series it serves as a prequel to, \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\" target=\"_blank\" rel=\"noopener noreferrer\">I recapped \u003cem>GoT\u003c/em> for NPR\u003c/a>, which meant I heard from folks who loved it and stuck with it to the end. (I’ll be recapping \u003cem>House of the Dragon\u003c/em> too, starting Sunday).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But mostly, and in far greater numbers, I heard from people who seemed inordinately eager to inform me that they \u003cem>weren’t \u003c/em>watching, or had abruptly \u003cem>stopped \u003c/em>watching, or who only kept watching through gritted teeth, seething all the while.\u003c/p>\n\u003cp>They all had their reasons for the positions they took up, and they weren’t as diverse as you might think. That got me thinking: on the eve of \u003cem>House of the Dragon\u003c/em>‘s debut, perhaps I could be of service.\u003c/p>\n\u003cp>So let’s do this: Simply scan the list below for the critique that best approximates your own attitude toward \u003cem>Game of Thrones\u003c/em>, and find out how—or whether—\u003cem>House of the Dragon \u003c/em>responds to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1. I loved \u003c/strong>\u003cem>\u003cstrong>Game of Thrones!\u003c/strong>\u003c/em>\u003cstrong> Ate it up with a big ol’ spoon! All the way through! \u003c/strong>\u003c/p>\n\u003cp>What, really? Wow, so \u003cem>you’re \u003c/em>the one. Uh. Okay then, just … go nuts. You’ll eat up \u003cem>House of the Dragon\u003c/em> with that very same spoon. It’s more of what you love. Enjoy!\u003c/p>\n\u003cp>\u003cstrong>2. I tried, I really did, but I just couldn’t keep track of everything. All those names, all those places, all those competing factions. And why were so many of the characters a bunch of beardy, brown-haired, middle-aged white dudes who looked alike? How was that fair?\u003c/strong>\u003c/p>\n\u003cp>First off, \u003cem>House of the Dragon\u003c/em> is set about 200 years before the events of \u003cem>Game of Thrones\u003c/em>, so you don’t need to worry about any of those beardy white dudes; they haven’t been born yet.\u003c/p>\n\u003cp>Think of it this way: \u003cem>House of the Dragon\u003c/em> is the story of a war over succession. It’s the War of the Roses, basically. If you can follow Shakespeare’s history plays, if you can read \u003cem>Wolf Hall\u003c/em>, you can get this. Because where \u003cem>Game of Thrones\u003c/em> depicted an extended jockeying for power among numerous kingdoms and Houses—Starks vs. Lannisters vs. Baratheons vs. Boltons vs. Pykes, etc.—on \u003cem>House of the Dragon\u003c/em>, the main conflict takes place within a single family, so there’s fewer competing factions to keep track of.\u003c/p>\n\u003cfigure id=\"attachment_13917875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png\" alt=\"A middle aged man with long white hair wearing robes and a crown.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.37.23-PM.png 1266w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) has got plenty of male hair but no male heir on ‘House of the Dragon.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the good news. The bad news: Swap beardy, brown-haired, middle-aged white dudes for a lot of folk sporting the same flowing platinum wig, because the single family is question is the Targaryens. They’re the ones with that white-blond hair, and the cheekbones. They tend to intermarry, and they have a kinship with dragons.\u003c/p>\n\u003cp>Y’all remember Daenerys Targaryen, from \u003cem>Game of Thrones\u003c/em>. Played by Emilia Clarke, she was the one in the less-than-convincing platinum wig, the Mother of Dragons. She spent most of the series in exile, working to build an army so she could take back the Iron Throne that her father, The Mad King, had lost. She was basically the last Targaryen.\u003c/p>\n\u003cp>\u003cem>House of the Dragon\u003c/em>, conversely, is set back at the height of the Targaryen Dynasty, when the family is still the most powerful force in the world, because they’re \u003cem>lousy \u003c/em>with dragons.\u003c/p>\n\u003cp>\u003cstrong>3. I started watching \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong>, but I couldn’t stomach the violence. Not for me.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then \u003cem>House of the Dragon\u003c/em> is also not for you. Life in Westeros is even more nasty, brutish and short than it was in \u003cem>Game of Thrones\u003c/em>, and the gore is just as intense. It doesn’t all come in the same form—it’s not all lopped heads and hacked limbs, though there’s plenty of those. The first episode features a particularly grisly depiction of how dangerous childbirth can be, even in a world of magic.\u003c/p>\n\u003cp>\u003cstrong>4. Despite characters like Arya, Cersei and Sansa, \u003c/strong>\u003cem>\u003cstrong>Game of Thrones\u003c/strong>\u003c/em>\u003cstrong> tended to treat women, especially background characters, as dehumanized objects to be leered at. \u003c/strong>\u003c/p>\n\u003cp>Yeah, the show came in for some fair critiques about that. And while there are still plenty of boobs and butts in \u003cem>House of the Dragon\u003c/em>, especially in brothel scenes, it feels less gratuitous, more equal opportunity. Your mileage may vary, of course.\u003c/p>\n\u003cp>\u003cstrong>5. I liked \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003cstrong> when it started out and stuck to palace intrigue and battles between kingdoms. But then it all became about the fantasy stuff—magic and dragons and snow zombies—and it lost me. \u003c/strong>\u003c/p>\n\u003cp>I don’t know what to tell you, my guy, but it’s right there in the name: \u003cem>House of the Dragon\u003c/em>. This is all dragons, all the time, from the jump. So it’s probably not for you.\u003c/p>\n\u003cfigure id=\"attachment_13917876\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png\" alt=\"Close up on the face of a dragon.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-19-at-12.42.35-PM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of HBO’s George R.R. Martin adaptations features a dragon-drop interface. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>6. Once the series went past the story that had been laid out in George R. R. Martin’s novels, it lost me. Everything suddenly felt rushed and thin and unconvincing, and all the nuance of the books fell away. \u003c/strong>\u003c/p>\n\u003cp>This is, by far, the thing I heard from folks most often. And we don’t need to re-litigate it here, but yeah: The showrunners of \u003cem>Game of Thrones \u003c/em>leaned out over their skis. E.L. Doctorow famously said writing a novel is like driving at night with your headlights on—you can only see a few yards ahead of you, but it’s enough to get you where you need to go. In the last couple of seasons of \u003cem>Game of Thrones\u003c/em>, the showrunners drove with their headlights off.\u003c/p>\n\u003cp>But if you’re worried about that happening with \u003cem>House of the Dragon\u003c/em>, don’t be. The series is based on a 2018 Martin book—\u003cem>Fire & Blood\u003c/em>—with a pre-existing beginning, middle and definitive end. There will be no vamping; we’re looking instead at a relatively straightforward act of adaptation.\u003c/p>\n\u003cp>I say “relatively” because \u003cem>Fire & Blood\u003c/em> is presented not as a simple narrative but as a series of conflicting historical accounts, written in different styles from different points of view.\u003c/p>\n\u003cp>And while that makes for a fun read, television has more exacting demands. Things left deliberately and tantalizingly ambiguous in the book will need to get explicitly dramatized, one way or another. The showrunners are going to have pick a side and run with it.\u003c/p>\n\u003cfigure id=\"attachment_13917864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg\" alt=\"A woman in regal robes stands before a man on an iron throne.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/milly-alcock-paddy-considine_wide-9e0327e2ef37fd0bd6735d8c670c2496435740aa.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Viserys (Paddy Considine) and Princess Rhaenyra (Milly Alcock) have a few points to make in ‘House of the Dragon.’\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it’s entirely up to you whether you’re up for another visit to the Seven Kingdoms. Your last trip there was rough; I get that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just know that the place is under new management, and they certainly seem to want to provide you a more focused, more self-contained, more \u003cem>considered \u003c/em>tourist experience than the old crew did.\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=Should+you+watch+the+%27Game+of+Thrones%27+spinoff%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Princess,' Hindsight Turns a Former Fairytale into a Horror Film",
"headTitle": "In ‘The Princess,’ Hindsight Turns a Former Fairytale into a Horror Film | KQED",
"content": "\u003cp>When Diana Spencer died in the summer of 1997, I was a journalism student at the University of Wales—the country Diana was technically still “Princess of.” The thing that had killed her was simultaneously shocking and almost too predictable: a high-speed car crash as she attempted to outrun a hoard of pursuing paparazzi. Within months of the accident, my professors had worked Princess Diana’s fraught relationship with the British media into my curriculum. The content of those lectures was so culturally and socially complex, so thought-provoking, it has stayed with me like little else I studied that year.\u003c/p>\n\u003cp>[aside postid='arts_13901947']Twenty-five years on, the topic proves to be just as compelling, as evidenced by the seemingly endless production of shows and biographies about Diana. But the new HBO documentary \u003cem>The Princess \u003c/em>stands out from the pack for several reasons: Ed Perkins’ film tells Diana’s story using only archival news and TV footage, most of it British. There is no current-day commentary, no new interviews. It’s a clever choice that effectively demonstrates the complicated symbiosis that existed between the princess and the press—while also quietly despairing at their toxic relationship. Through that footage, we trace Diana’s life from the time of her engagement to Prince Charles in 1981 to the time of her tragic death at the age of 36.\u003c/p>\n\u003cp>Along the way, we learn the many ways that Diana was at the mercy of the press, the British people and, perhaps most of all, the royal family she married into, having barely just turned 20. The film is unusually unflinching about who did what and when—especially when it comes to Prince Charles. His jealousy, his affair with Camilla Parker Bowles and his neglect of his young wife are all starkly presented here in footage from their early marriage. It’s abundantly clear that sections of the press knew the marriage was doomed within months of the wedding—a fact seldom acknowledged in other films about Diana.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PisHN6iFq-U\u003c/p>\n\u003cp>As a British citizen, one of the strangest elements of watching \u003cem>The Princess\u003c/em> in 2022 is realizing just how viscerally I remember certain events happening to her. Stranger still is realizing how much those events in Diana’s life now remind me of specific events in my own family’s. Not because we were fans of the monarchy, or because I followed Diana’s life closely. It was simply that every event in her life was covered in such voracious, repetitive depth, the U.K. public knew about them down to the most embarrassing detail, whether we wanted to or not. \u003cem>The Princess\u003c/em> captures that—the way this woman’s life was interwoven with the lives of the British public—to a degree that I’ve not seen in any other documentary about her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I strongly suspect viewers in the U.K. and the U.S. will have vastly different reactions to this 108-minute film. For those of us who grew up watching the many agonies of her marriage play out in real time, seeing Diana’s traumas compressed into under two hours here is disturbing—not to mention an impressive feat of editing.\u003c/p>\n\u003cp>[aside postid='arts_13893693']I suspect the relentlessness of the ways Diana was pursued by the British media will be shocking for Americans, even with the knowledge of how she died. That there were news reports attesting to Diana’s virginity before she married the 32-year-old prince particularly so. For Brits, though cringeworthy now, it’s mostly a reminder of the pressure Charles was under to find a virginal wife from an appropriate bloodline. (And the fact that such draconian royal rules only fell by the wayside after Charles and Diana’s 1992 separation threatened the very existence of the royal family.)\u003c/p>\n\u003cp>Americans may also be surprised by the degree of hostility Diana dealt with from the royal family, even early on, before she had rebelled against them. In one particularly shocking clip, when Princess Anne (Charles’ sister) is asked what she thinks about the birth of Charles and Diana’s first son, she shrugs and says, “I didn’t know she’d had one.” (Watching this 1982 footage now, it’s impossible not to think of Diana’s daughter-in-law Meghan Markle, and the reception she got when she joined “the firm.”)\u003c/p>\n\u003cfigure id=\"attachment_13916993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916993\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-181673502-800x573.jpg\" alt=\"Princess Diana wearing a cream satin dress by Gina Fratini with an elaborate tiara and diamond earrings. Her head is tilted downwards, her face wearing a defeated expression.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-2048x1467.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-1920x1375.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Princess Diana at an official banquet in April 1983 in New Zealand. \u003ccite>(Anwar Hussein/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hindsight we are afforded now provides a chill to \u003cem>The Princess\u003c/em> that is hard to shake off. Over footage of her looking lost and alone at the Taj Mahal in 1992, we hear one cultural critic state: “When you put a modern person in an ancient institution, they will be destroyed. Once an institution starts destroying people, it’s time to recognize that there’s something fundamentally wrong with that institution.” Thirty years later, and that institution continues to trundle on.\u003c/p>\n\u003cp>\u003cem>The Princess\u003c/em> is also careful to remind us that, when it came to Diana, the buck was passed in a circular motion, both before and after her death. The paparazzi blamed tabloid editors for buying their photos. The tabloid editors blamed the public for buying the papers those pictures were printed in. And the public either blamed Diana for calling on the media too much, or the media for putting too much of Diana’s personal life in their pages. One pundit’s prediction that “all this telephoto lens business” would stop once Diana had married Charles reflects just how unprecedented her situation was.\u003c/p>\n\u003cfigure id=\"attachment_13916988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-800x509.png\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-1536x977.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-2048x1302.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-1920x1221.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers left by the British public outside Princess Diana’s former London residence, Kensington Palace, after her death in August 1997. A similar number of bouquets were left outside Buckingham Palace. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with those lectures I sat through in 1997, the thing that most sticks with me after viewing \u003cem>The Princess\u003c/em> are the ethical questions around what rights the press has when it comes to pursuing public figures. What rights does the public have to tear a person down en masse simply because they’re famous? \u003ca href=\"https://www.nytimes.com/article/framing-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Framing Britney Spears\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13902631/women-reclaim-the-narrative-of-the-clinton-sex-scandal-in-impeachment-american-crime-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Impeachment: American Crime Story\u003c/em>\u003c/a> both recently explored these issues very well, but there is a quiet, institutional insidiousness present in \u003cem>The Princess\u003c/em> that is particularly upsetting.\u003c/p>\n\u003cp>[aside postid='arts_13866072']I have long suspected that the dramatic outpouring of grief that followed Diana’s death was in some way rooted in a collective guilt. Guilt for exalting, participating, building up, tearing down and above all, watching her every move. That her life still makes for such compelling viewing isn’t just a reminder of Diana’s enigmatic charisma, it’s a reminder of exactly what destroyed her.\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>‘The Princess’ premieres Saturday, Aug. 13 on HBO.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Diana Spencer died in the summer of 1997, I was a journalism student at the University of Wales—the country Diana was technically still “Princess of.” The thing that had killed her was simultaneously shocking and almost too predictable: a high-speed car crash as she attempted to outrun a hoard of pursuing paparazzi. Within months of the accident, my professors had worked Princess Diana’s fraught relationship with the British media into my curriculum. The content of those lectures was so culturally and socially complex, so thought-provoking, it has stayed with me like little else I studied that year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Twenty-five years on, the topic proves to be just as compelling, as evidenced by the seemingly endless production of shows and biographies about Diana. But the new HBO documentary \u003cem>The Princess \u003c/em>stands out from the pack for several reasons: Ed Perkins’ film tells Diana’s story using only archival news and TV footage, most of it British. There is no current-day commentary, no new interviews. It’s a clever choice that effectively demonstrates the complicated symbiosis that existed between the princess and the press—while also quietly despairing at their toxic relationship. Through that footage, we trace Diana’s life from the time of her engagement to Prince Charles in 1981 to the time of her tragic death at the age of 36.\u003c/p>\n\u003cp>Along the way, we learn the many ways that Diana was at the mercy of the press, the British people and, perhaps most of all, the royal family she married into, having barely just turned 20. The film is unusually unflinching about who did what and when—especially when it comes to Prince Charles. His jealousy, his affair with Camilla Parker Bowles and his neglect of his young wife are all starkly presented here in footage from their early marriage. It’s abundantly clear that sections of the press knew the marriage was doomed within months of the wedding—a fact seldom acknowledged in other films about Diana.\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/PisHN6iFq-U'\n title='//www.youtube.com/embed/PisHN6iFq-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a British citizen, one of the strangest elements of watching \u003cem>The Princess\u003c/em> in 2022 is realizing just how viscerally I remember certain events happening to her. Stranger still is realizing how much those events in Diana’s life now remind me of specific events in my own family’s. Not because we were fans of the monarchy, or because I followed Diana’s life closely. It was simply that every event in her life was covered in such voracious, repetitive depth, the U.K. public knew about them down to the most embarrassing detail, whether we wanted to or not. \u003cem>The Princess\u003c/em> captures that—the way this woman’s life was interwoven with the lives of the British public—to a degree that I’ve not seen in any other documentary about her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I strongly suspect viewers in the U.K. and the U.S. will have vastly different reactions to this 108-minute film. For those of us who grew up watching the many agonies of her marriage play out in real time, seeing Diana’s traumas compressed into under two hours here is disturbing—not to mention an impressive feat of editing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I suspect the relentlessness of the ways Diana was pursued by the British media will be shocking for Americans, even with the knowledge of how she died. That there were news reports attesting to Diana’s virginity before she married the 32-year-old prince particularly so. For Brits, though cringeworthy now, it’s mostly a reminder of the pressure Charles was under to find a virginal wife from an appropriate bloodline. (And the fact that such draconian royal rules only fell by the wayside after Charles and Diana’s 1992 separation threatened the very existence of the royal family.)\u003c/p>\n\u003cp>Americans may also be surprised by the degree of hostility Diana dealt with from the royal family, even early on, before she had rebelled against them. In one particularly shocking clip, when Princess Anne (Charles’ sister) is asked what she thinks about the birth of Charles and Diana’s first son, she shrugs and says, “I didn’t know she’d had one.” (Watching this 1982 footage now, it’s impossible not to think of Diana’s daughter-in-law Meghan Markle, and the reception she got when she joined “the firm.”)\u003c/p>\n\u003cfigure id=\"attachment_13916993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916993\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-181673502-800x573.jpg\" alt=\"Princess Diana wearing a cream satin dress by Gina Fratini with an elaborate tiara and diamond earrings. Her head is tilted downwards, her face wearing a defeated expression.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-2048x1467.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-181673502-1920x1375.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Princess Diana at an official banquet in April 1983 in New Zealand. \u003ccite>(Anwar Hussein/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hindsight we are afforded now provides a chill to \u003cem>The Princess\u003c/em> that is hard to shake off. Over footage of her looking lost and alone at the Taj Mahal in 1992, we hear one cultural critic state: “When you put a modern person in an ancient institution, they will be destroyed. Once an institution starts destroying people, it’s time to recognize that there’s something fundamentally wrong with that institution.” Thirty years later, and that institution continues to trundle on.\u003c/p>\n\u003cp>\u003cem>The Princess\u003c/em> is also careful to remind us that, when it came to Diana, the buck was passed in a circular motion, both before and after her death. The paparazzi blamed tabloid editors for buying their photos. The tabloid editors blamed the public for buying the papers those pictures were printed in. And the public either blamed Diana for calling on the media too much, or the media for putting too much of Diana’s personal life in their pages. One pundit’s prediction that “all this telephoto lens business” would stop once Diana had married Charles reflects just how unprecedented her situation was.\u003c/p>\n\u003cfigure id=\"attachment_13916988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-800x509.png\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-1536x977.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-2048x1302.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-01-at-9.06.25-PM-1920x1221.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers left by the British public outside Princess Diana’s former London residence, Kensington Palace, after her death in August 1997. A similar number of bouquets were left outside Buckingham Palace. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with those lectures I sat through in 1997, the thing that most sticks with me after viewing \u003cem>The Princess\u003c/em> are the ethical questions around what rights the press has when it comes to pursuing public figures. What rights does the public have to tear a person down en masse simply because they’re famous? \u003ca href=\"https://www.nytimes.com/article/framing-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Framing Britney Spears\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13902631/women-reclaim-the-narrative-of-the-clinton-sex-scandal-in-impeachment-american-crime-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Impeachment: American Crime Story\u003c/em>\u003c/a> both recently explored these issues very well, but there is a quiet, institutional insidiousness present in \u003cem>The Princess\u003c/em> that is particularly upsetting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have long suspected that the dramatic outpouring of grief that followed Diana’s death was in some way rooted in a collective guilt. Guilt for exalting, participating, building up, tearing down and above all, watching her every move. That her life still makes for such compelling viewing isn’t just a reminder of Diana’s enigmatic charisma, it’s a reminder of exactly what destroyed her.\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>‘The Princess’ premieres Saturday, Aug. 13 on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Warner Bros. Kills Off 'Batgirl' Movie, $90 Million in",
"headTitle": "Warner Bros. Kills Off ‘Batgirl’ Movie, $90 Million in | KQED",
"content": "\u003cp>In a move that shocked Hollywood observers for the amount of money wasted, Warner Bros. Discovery announced Tuesday that it is shelving all plans to release the nearly finished film \u003cem>Batgirl\u003c/em>, starring actress Leslie Grace.\u003c/p>\n\u003cp>The film had originally been planned with a $75 million budget that had rocketed up to $90 million, due to COVID-related delays. It was directed by the duo Adil El Arbi and Bilall Fallah, whose credits include the 2020 Will Smith and Martin Lawrence vehicle \u003cem>Bad Boys for Life\u003c/em> as well as the recent Disney+ series \u003cem>Ms. Marvel\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_40356']In a statement reported by multiple media sources, a Warner Bros. spokesperson wrote: “The decision to not release \u003cem>Batgirl\u003c/em> reflects our leadership’s strategic shift as it relates to the DC universe and HBO Max. Leslie Grace is an incredibly talented actor and this decision is not a reflection of her performance.”\u003c/p>\n\u003cp>Warner Bros. has not replied to requests from NPR for comment.\u003c/p>\n\u003cp>On Tuesday, the trade magazine \u003ca href=\"https://variety.com/2022/film/news/batgirl-movie-why-not-releasing-warner-bros-1235332062/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reported\u003c/a> that the film had been planned under WarnerMedia CEO Jason Kilar and Warner Bros. CEO Ann Sarnoff, and was scheduled to be initially released on the HBO Max streaming platform. Since then, David Zaslav has come in as CEO of the newly formed Warner Bros. Discovery company, and has reversed their streaming-first corporate plans. The fate of \u003cem>Batgirl\u003c/em>, according to \u003cem>Variety\u003c/em>, seems to have been tied up in those strategy wars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the \u003cem>Batgirl \u003c/em>news was first reported, however, it was via the \u003ca href=\"https://nypost.com/2022/08/02/batgirl-movie-gets-shelved-by-warner-bros-source/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a>\u003cem>—\u003c/em>and an anonymous source speaking to the newspaper placed the blame squarely on poor audience testing. “They think an unspeakable \u003cem>Batgirl\u003c/em> is going to be irredeemable,” the source told the \u003cem>Post\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the same time that \u003cem>Batgirl \u003c/em>met the ax, the studio also announced that the movie \u003cem>Scoob!: Holiday Haunt \u003c/em>has also been shelved. It was a sequel to the 2020 film \u003ca href=\"https://variety.com/2020/film/reviews/scoob-review-scooby-doo-1234607321/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scoob!\u003c/em>, of which \u003cem>Variety \u003c/em>wrote\u003c/a> in its review: “These are trying times, and parents may be grateful to have a virtual babysitter to distract their kids for 90 minutes, in which case, \u003cem>Scoob!\u003c/em> is surely more effective than sitting them in front of the fish tank.”\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=Warner+Bros.+kills+off+%27Batgirl%27+movie%2C+%2490+million+in&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a move that shocked Hollywood observers for the amount of money wasted, Warner Bros. Discovery announced Tuesday that it is shelving all plans to release the nearly finished film \u003cem>Batgirl\u003c/em>, starring actress Leslie Grace.\u003c/p>\n\u003cp>The film had originally been planned with a $75 million budget that had rocketed up to $90 million, due to COVID-related delays. It was directed by the duo Adil El Arbi and Bilall Fallah, whose credits include the 2020 Will Smith and Martin Lawrence vehicle \u003cem>Bad Boys for Life\u003c/em> as well as the recent Disney+ series \u003cem>Ms. Marvel\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a statement reported by multiple media sources, a Warner Bros. spokesperson wrote: “The decision to not release \u003cem>Batgirl\u003c/em> reflects our leadership’s strategic shift as it relates to the DC universe and HBO Max. Leslie Grace is an incredibly talented actor and this decision is not a reflection of her performance.”\u003c/p>\n\u003cp>Warner Bros. has not replied to requests from NPR for comment.\u003c/p>\n\u003cp>On Tuesday, the trade magazine \u003ca href=\"https://variety.com/2022/film/news/batgirl-movie-why-not-releasing-warner-bros-1235332062/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reported\u003c/a> that the film had been planned under WarnerMedia CEO Jason Kilar and Warner Bros. CEO Ann Sarnoff, and was scheduled to be initially released on the HBO Max streaming platform. Since then, David Zaslav has come in as CEO of the newly formed Warner Bros. Discovery company, and has reversed their streaming-first corporate plans. The fate of \u003cem>Batgirl\u003c/em>, according to \u003cem>Variety\u003c/em>, seems to have been tied up in those strategy wars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the \u003cem>Batgirl \u003c/em>news was first reported, however, it was via the \u003ca href=\"https://nypost.com/2022/08/02/batgirl-movie-gets-shelved-by-warner-bros-source/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a>\u003cem>—\u003c/em>and an anonymous source speaking to the newspaper placed the blame squarely on poor audience testing. “They think an unspeakable \u003cem>Batgirl\u003c/em> is going to be irredeemable,” the source told the \u003cem>Post\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the same time that \u003cem>Batgirl \u003c/em>met the ax, the studio also announced that the movie \u003cem>Scoob!: Holiday Haunt \u003c/em>has also been shelved. It was a sequel to the 2020 film \u003ca href=\"https://variety.com/2020/film/reviews/scoob-review-scooby-doo-1234607321/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scoob!\u003c/em>, of which \u003cem>Variety \u003c/em>wrote\u003c/a> in its review: “These are trying times, and parents may be grateful to have a virtual babysitter to distract their kids for 90 minutes, in which case, \u003cem>Scoob!\u003c/em> is surely more effective than sitting them in front of the fish tank.”\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=Warner+Bros.+kills+off+%27Batgirl%27+movie%2C+%2490+million+in&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the premiere episode of the \u003ca href=\"https://www.hbomax.com/series/rap-shit\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Max\u003c/a> comedy \u003cem>Rap Sh!t\u003c/em>, executive producer Issa Rae’s first major project post-\u003cem>Insecure\u003c/em>, Shawna (Aida Osman), a socially conscious rapper, fervently announces her retirement from the rap game.\u003c/p>\n\u003cp>Never mind that she’s a relatively unknown 20-something artist who’s barely stepped foot in the game to begin with—after dropping out of college to work with a producer, she’s found only fleeting, minor viral success, and that was … two years ago. She’s done. Out. Over an industry that only values female rappers who show off all their assets while putting in the “bare minimum with no originality.”\u003c/p>\n\u003cp>[aside postid='pop_40693']To pay the bills, Shawna has been working the reception desk in a Miami hotel lobby by day while writing rhymes at night (think lyrics about “goddesses,” “nurturers,” and the “garden of Eden”) under the stage name The Vision. In her accompanying videos, she dons a decorated face mask, a giant ‘fro, and a hoodie, “because I want people to focus on my lyricism, not what I look like.”\u003c/p>\n\u003cp>An admirable, if potentially non-lucrative, aim to have.\u003c/p>\n\u003cp>“Y’all say, ‘I want a different type of female rapper.’ … NO YOU DON’T!” she bemoans to her handful of Instagram Live followers. “Cause you don’t support me! You don’t support any of us!”\u003c/p>\n\u003ch3>She gives it another try\u003c/h3>\n\u003cp>It’s not spoiling things to say that Shawna comes out of retirement faster than Jay-Z did in the mid-’00s. After reconnecting with Mia (KaMillion), an estranged friend from high school who’s now a single mother juggling multiple side hustles—makeup artistry, an OnlyFans page, and wealthy sugar daddies—Shawna rediscovers her love for rap and the two of them decide to form a rap duo. But that tension between artistry and commercialism, politics and entertainment, is a central recurring theme in this zeitgeist-y take on the current landscape of hip-hop and the music industry at large.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-_CotvQqCk4\u003c/p>\n\u003cp>The show is at its freshest and funniest when this eternal struggle to strike a balance is front and center. As the one who embodies the flamboyant attitude and capitalistic ethos of many of the biggest current rappers (Megan Thee Stallion, Cardi B, and real-life analog and \u003cem>Rap Sh!t \u003c/em>co-producers City Girls), Mia acts as a stand-in for the masses, pushing Shawna to loosen up a bit and think more commercially. The first time they sit down to write together, Shawna presents an expletive-laced, unintentionally silly verse where she’s rapping from the perspective of student loans.\u003c/p>\n\u003cp>Mia, bewilderedly: “Why would I want a song to be about \u003cem>that\u003c/em>?”\u003c/p>\n\u003cp>Shawna, sheepishly: “Everybody’s affected by predatory lending.”\u003c/p>\n\u003cp>[aside postid='pop_112690']Osman and KaMillion have strong banter and chemistry in these scenes, and their characters’ dueling personalities and bonding anchor the episodes as they attempt to create and build a following on social media and within the local Miami scene. There have been plenty of shows and movies that have tapped into the absurdities and contradictions of being an aspiring rapper (\u003cem>Atlanta\u003c/em>, \u003cem>Dave\u003c/em>, or to go back much further, \u003cem>CB4\u003c/em>), but it’s refreshing to see it told from a woman’s perspective, where the pathways to success are inarguably different in many ways. In this fruitful era where more female rappers than ever before are sharing space, collaborating, and finding success in the mainstream, \u003cem>Rap Sh!t \u003c/em>attempts to both celebrate this progress and call into question the structural limitations that remain for women in rap, through Shawna.\u003c/p>\n\u003ch3>Clashing goals\u003c/h3>\n\u003cfigure id=\"attachment_13916400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-800x600.jpg\" alt=\"Two Black women sit in a nightclub wearing form-fitting dresses. Both have serious facial expressions. One is holding up a cell phone. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101.jpg 1549w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KaMillion (left) and Aida Osman in ‘Rap Sh!t.’ \u003ccite>(Alicia Vera/HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result can be a bit messy—does Shawna’s embrace of more ratchet lyricism represent survival mode or selling out? It’s not entirely clear, and only six of eight episodes were made available to critics ahead of the premiere—though perhaps that’s a reflection more of the messiness of double standards than anything else. Her desire to \u003ca href=\"https://www.teenvogue.com/story/billie-eilish-baggy-clothes-calvin-klein\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a> her sartorial aesthetic is treated like a punch line, and her grievances about the industry’s lopsided standards and formulas for superstardom—get a man who wants to sleep with them to co-sign their aspirations, get cosmetic surgery and then flaunt it—are almost always shut down by someone else arguing “the game is the game” or that women in hip-hop are actually thriving on their own terms.\u003c/p>\n\u003cp>At the same time, her long-distance boyfriend Cliff (Devon Terrell), an uptight N.Y.U. law student who aims to be the next Barack Obama or Benjamin Crump, is dismissive of her aspirations and worried what they might mean for his political career. (His sexist roommates negatively refer to Mia as a “porn star” and snarkily comment that “We in a new era of women now. [Shawna] don’t have to have to be Michelle, she can be Melania.”) As plenty of women in hip-hop understand, no matter what you do, or don’t do, misogyny will rear its ugly head from some corner or another.\u003c/p>\n\u003ch3>A promising series\u003c/h3>\n\u003cp>[aside postid='arts_13915289']When \u003cem>Rap Sh!t \u003c/em>falls back on more familiar elements, like the predictable way the relationship plays out with Cliff or a girls’ night out that’s nearly derailed by the imbibing of molly, it can drag a bit. And depending on how old you are, you may find the show’s technique of presenting most scenes as though they were being shot on a phone for social media or via Facetime conversation to be exhausting or an accurate, immersive depiction of how so many people move and connect throughout the world. (Admittedly, I’m an aging 30-something millennial and found it unnecessary at times.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But there’s likely enough here for hip-hop fans and \u003cem>Insecure \u003c/em>fans to chew on and be satisfied, while anticipating where Shawna and Mia will go next. As the latter astutely points out, we’re in the middle of a “bad b—h renaissance,” and these two characters are capturing (and capitalizing on) the moment.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Rap+Sh%21t%2C%27+women+in+rap+strive+and+thrive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Osman and KaMillion have strong banter and chemistry in these scenes, and their characters’ dueling personalities and bonding anchor the episodes as they attempt to create and build a following on social media and within the local Miami scene. There have been plenty of shows and movies that have tapped into the absurdities and contradictions of being an aspiring rapper (\u003cem>Atlanta\u003c/em>, \u003cem>Dave\u003c/em>, or to go back much further, \u003cem>CB4\u003c/em>), but it’s refreshing to see it told from a woman’s perspective, where the pathways to success are inarguably different in many ways. In this fruitful era where more female rappers than ever before are sharing space, collaborating, and finding success in the mainstream, \u003cem>Rap Sh!t \u003c/em>attempts to both celebrate this progress and call into question the structural limitations that remain for women in rap, through Shawna.\u003c/p>\n\u003ch3>Clashing goals\u003c/h3>\n\u003cfigure id=\"attachment_13916400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-800x600.jpg\" alt=\"Two Black women sit in a nightclub wearing form-fitting dresses. Both have serious facial expressions. One is holding up a cell phone. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/kamillion-aida-osman-e3bb602710d2bead14bca239a91b8e90d4418101.jpg 1549w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KaMillion (left) and Aida Osman in ‘Rap Sh!t.’ \u003ccite>(Alicia Vera/HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result can be a bit messy—does Shawna’s embrace of more ratchet lyricism represent survival mode or selling out? It’s not entirely clear, and only six of eight episodes were made available to critics ahead of the premiere—though perhaps that’s a reflection more of the messiness of double standards than anything else. Her desire to \u003ca href=\"https://www.teenvogue.com/story/billie-eilish-baggy-clothes-calvin-klein\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a> her sartorial aesthetic is treated like a punch line, and her grievances about the industry’s lopsided standards and formulas for superstardom—get a man who wants to sleep with them to co-sign their aspirations, get cosmetic surgery and then flaunt it—are almost always shut down by someone else arguing “the game is the game” or that women in hip-hop are actually thriving on their own terms.\u003c/p>\n\u003cp>At the same time, her long-distance boyfriend Cliff (Devon Terrell), an uptight N.Y.U. law student who aims to be the next Barack Obama or Benjamin Crump, is dismissive of her aspirations and worried what they might mean for his political career. (His sexist roommates negatively refer to Mia as a “porn star” and snarkily comment that “We in a new era of women now. [Shawna] don’t have to have to be Michelle, she can be Melania.”) As plenty of women in hip-hop understand, no matter what you do, or don’t do, misogyny will rear its ugly head from some corner or another.\u003c/p>\n\u003ch3>A promising series\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When \u003cem>Rap Sh!t \u003c/em>falls back on more familiar elements, like the predictable way the relationship plays out with Cliff or a girls’ night out that’s nearly derailed by the imbibing of molly, it can drag a bit. And depending on how old you are, you may find the show’s technique of presenting most scenes as though they were being shot on a phone for social media or via Facetime conversation to be exhausting or an accurate, immersive depiction of how so many people move and connect throughout the world. (Admittedly, I’m an aging 30-something millennial and found it unnecessary at times.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there’s likely enough here for hip-hop fans and \u003cem>Insecure \u003c/em>fans to chew on and be satisfied, while anticipating where Shawna and Mia will go next. As the latter astutely points out, we’re in the middle of a “bad b—h renaissance,” and these two characters are capturing (and capitalizing on) the moment.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Rap+Sh%21t%2C%27+women+in+rap+strive+and+thrive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How an Underground Network of Women Facilitated Abortions Before Roe v. Wade",
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"content": "\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”[aside postID='arts_13912860']\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>[aside postID='arts_13913248']Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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