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"content": "\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w9IkVtLvflU\u003c/p>\n\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arrington recalls in \u003cem>TINA\u003c/em> that “she wanted to just tell it and then forget it. It didn’t quite work out that way.” [aside postid='arts_13890087']\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” [aside postid='arts_13892800']\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>[ad floatright]\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\">\u003cem>‘TINA’ premieres on Saturday, March 27, on HBO. \u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\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/w9IkVtLvflU'\n title='//www.youtube.com/embed/w9IkVtLvflU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arrington recalls in \u003cem>TINA\u003c/em> that “she wanted to just tell it and then forget it. It didn’t quite work out that way.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Here at Long (Really Long) Last, 'Zack Snyder's Justice League' is ... Pretty Good?",
"headTitle": "Here at Long (Really Long) Last, ‘Zack Snyder’s Justice League’ is … Pretty Good? | KQED",
"content": "\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vM-Bja2Gy04\u003c/p>\n\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\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/vM-Bja2Gy04'\n title='//www.youtube.com/embed/vM-Bja2Gy04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sarah Everard is Forcing Men to Reckon With Violence Against Women",
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"content": "\u003cp>Over the past 48 hours, an emotional outpouring has flooded Twitter, the likes of which has not been seen since the international \u003ca href=\"https://time.com/time-person-of-the-year-2017-silence-breakers/\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo uprising\u003c/a> of 2017.\u003c/p>\n\u003cp>This week, British women have once again been sharing stories about assault, harassment and the ever-present fear that comes with moving through public spaces. And they’re doing it because of \u003ca href=\"https://www.npr.org/2021/03/11/976092455/disappearance-of-london-woman-walking-home-alone-sparks-grief-and-anger-across-u\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Everard\u003c/a>—a 33-year-old woman who disappeared while walking home in South London on March 3. A police officer has since been arrested on suspicion of her murder.\u003c/p>\n\u003cp>Multiple observers have noted that Everard met a violent end despite taking an abundance of precautions. The marketing executive left her friend’s house at an early hour, stuck to main roads and wore brightly-colored, sensible walking gear. Still, the human remains that police discovered a week later, 56 miles away in Kent, were identified as Sarah Everard on Friday morning. [aside postid='arts_13875149']\u003c/p>\n\u003cp>In the United States, the case is a reminder to many of us of \u003ca href=\"https://www.kqed.org/arts/13875149/amie-harwicks-death-is-a-confirmation-of-womens-worst-fears\" target=\"_blank\" rel=\"noopener noreferrer\">Amie Harwick\u003c/a>. The therapist was murdered in her Los Angeles home in February 2020, despite taking out multiple restraining orders against her ex-boyfriend. She’d spent her career counseling survivors of domestic violence and educating women about maintaining safe boundaries. Everard, like Harwick, did everything right. The fact that it wasn’t enough to keep her safe has left women across the UK reeling.\u003c/p>\n\u003cp>Sky News journalist Kate McCann posted a thread on Twitter that captured the national mood. “We take the longer, better-lit route,” she wrote, “but still we make a plan. Keys gripped between fingers, we map the corner shops we could duck into en-route.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/KateEMcCann/status/1369682523157102595\u003c/p>\n\u003cp>https://twitter.com/KateEMcCann/status/1369682658662490117\u003c/p>\n\u003cp>The grief and outrage for Sarah Everard is now so widespread that when #NotAllMen started making ripples on Twitter yesterday, the hashtag was quickly \u003ca href=\"https://twitter.com/therealtomcee/status/1370101878290219008\" target=\"_blank\" rel=\"noopener noreferrer\">hijacked\u003c/a> by people speaking out about gender-based violence. Among them was a surprising number of men. (It should not be surprising in 2021 when men publicly express their desire to stop women being frightened, hurt or killed, but somehow it still is.)\u003c/p>\n\u003cp>https://twitter.com/Scroobiuspipyo/status/1370050861477416963\u003c/p>\n\u003cp>https://twitter.com/jayrayner1/status/1369591783051649026\u003c/p>\n\u003cp>https://twitter.com/AlfieIndra/status/1370108421404569600\u003c/p>\n\u003cp>In addition, a highly emotive clip from \u003ca href=\"https://www.youtube.com/watch?v=1jQSqjYqPlg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>X\u003c/em>\u003c/a>, an HBO special by Scottish comedian \u003ca href=\"https://danielsloss.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Sloss\u003c/a>, is being widely circulated. In the clip from his 2019 set, Sloss takes accountability for the fact that he never called out the sexist behavior of one of his male friends. That friend of eight years subsequently raped a woman Sloss was friends with.\u003c/p>\n\u003cp>“There are monsters amongst us and they look like us,” Sloss says. “Don’t just sit back and think ‘Well, I’m not part of the problem. Therefore, I must be part of the solution.’ When one in ten men are shit and the other nine do nothing, they might as well not fucking be there.”\u003c/p>\n\u003cp>https://twitter.com/Femi_Sorry/status/1370013298968715270\u003c/p>\n\u003cp>Of course, this isn’t the first time men have shown support for women grappling with sexual violence. (\u003ca href=\"https://www.theguardian.com/film/2020/mar/03/james-franco-accusers-me-too-bandwagon-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">Not all of them genuine\u003c/a>, unfortunately.) But there are signs—across the pond, at least—that a sea change might be occurring. [aside postid='arts_13890303']\u003c/p>\n\u003cp>On March 8, the UK edition of \u003cem>GQ\u003c/em> published an in-depth article about Britain’s “\u003ca href=\"https://www.gq-magazine.co.uk/gq-hype/article/domestic-abuse-lockdown\" target=\"_blank\" rel=\"noopener noreferrer\">domestic abuse crisis\u003c/a>.” Not only was it an unlikely subject for a mainstream men’s magazine, it wasn’t afraid to lay the bulk of the responsibility for soaring rates of intimate partner violence squarely at the feet of men. The wider culture that perpetuates misogyny didn’t get off lightly either.\u003c/p>\n\u003cp>What’s more, the story was exhaustive, featuring extensive statistics, interviews with survivors, a guide to \u003cem>all\u003c/em> behavior that should be acknowledged as abusive (including coercion), plus a list titled the “Eight Stages of Abuse.” George Chesterton’s essay even took the time to debunk old myths about violence against women, in particular the notion of “crimes of passion.”\u003c/p>\n\u003cp>The feature didn’t just feel unprecedented within the context of the genre of publication, it felt like a sliver of hope in a week when it was hard to muster any. Again: that men with a national platform are trying to teach other men how to not be abusive shouldn’t come as a surprise in 2021, but somehow it still does. And the reason for that is because, even post-#MeToo, there has remained a pervasive sense that sexual violence and harassment are women’s issues to be spoken about and handled by women. [aside postid='pop_105735']\u003c/p>\n\u003cp>Men—especially ones with public platforms (the ones who could reach the most people and do the most good)—often seem afraid of saying the wrong thing. Subsequently, they just don’t say anything at all. (Lest we forget that in 2018, even in the midst of the Harvey Weinstein/#MeToo firestorm, the majority of men wearing Time’s Up pins at the Golden Globes and Academy Awards avoided saying anything direct about harassment or assault.)\u003c/p>\n\u003cp>Make no mistake, male allies are what women need right now. It’s what we have needed forever, actually. So men: we’re not there to shut down the degrading conversations about us, but you are. And you’re not there when we’re being harassed because they don’t do that in front of you. (Women are safer traveling with a man, not just because of issues around physical strength, but also because harassers assume a man walking next to a woman has already staked his claim to her. And they accept that over a woman’s right to be left alone.)\u003c/p>\n\u003cp>Women know that the type of men who abuse and harass women are the type of men who only listen to other men. So men, if you’re not doing it already, we need you to talk to one another. We need you to speak to the men who don’t view us as human enough to listen to. We need you to speak to the ones that feel entitled to our time. We need you to speak to the ones that think that yelling at us on the street is all in good fun. And we even need you to speak to the ones that seem kind of scared of us—because sometimes it’s them that end up being the most frightening.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If this week has taught us anything, it’s that feminist outrage can be a co-ed sport. And it’s one that we need to keep in season always and forever, moving forward, if anything is ever going to change. “There are very many good men out there,” \u003ca href=\"https://time.com/5159093/eve-ensler-men-need-to-join-the-fight-to-end-violence-against-women/\" target=\"_blank\" rel=\"noopener noreferrer\">Eve Ensler\u003c/a> noted during a 2018 video interview with \u003cem>Time\u003c/em>. “The problem is, any violence against women, standing up for women has not become their central issue. And when it does—when they say, ‘This will be my central issue’—the world will change.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past 48 hours, an emotional outpouring has flooded Twitter, the likes of which has not been seen since the international \u003ca href=\"https://time.com/time-person-of-the-year-2017-silence-breakers/\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo uprising\u003c/a> of 2017.\u003c/p>\n\u003cp>This week, British women have once again been sharing stories about assault, harassment and the ever-present fear that comes with moving through public spaces. And they’re doing it because of \u003ca href=\"https://www.npr.org/2021/03/11/976092455/disappearance-of-london-woman-walking-home-alone-sparks-grief-and-anger-across-u\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Everard\u003c/a>—a 33-year-old woman who disappeared while walking home in South London on March 3. A police officer has since been arrested on suspicion of her murder.\u003c/p>\n\u003cp>Multiple observers have noted that Everard met a violent end despite taking an abundance of precautions. The marketing executive left her friend’s house at an early hour, stuck to main roads and wore brightly-colored, sensible walking gear. Still, the human remains that police discovered a week later, 56 miles away in Kent, were identified as Sarah Everard on Friday morning. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In addition, a highly emotive clip from \u003ca href=\"https://www.youtube.com/watch?v=1jQSqjYqPlg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>X\u003c/em>\u003c/a>, an HBO special by Scottish comedian \u003ca href=\"https://danielsloss.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Sloss\u003c/a>, is being widely circulated. In the clip from his 2019 set, Sloss takes accountability for the fact that he never called out the sexist behavior of one of his male friends. That friend of eight years subsequently raped a woman Sloss was friends with.\u003c/p>\n\u003cp>“There are monsters amongst us and they look like us,” Sloss says. “Don’t just sit back and think ‘Well, I’m not part of the problem. Therefore, I must be part of the solution.’ When one in ten men are shit and the other nine do nothing, they might as well not fucking be there.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Of course, this isn’t the first time men have shown support for women grappling with sexual violence. (\u003ca href=\"https://www.theguardian.com/film/2020/mar/03/james-franco-accusers-me-too-bandwagon-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">Not all of them genuine\u003c/a>, unfortunately.) But there are signs—across the pond, at least—that a sea change might be occurring. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On March 8, the UK edition of \u003cem>GQ\u003c/em> published an in-depth article about Britain’s “\u003ca href=\"https://www.gq-magazine.co.uk/gq-hype/article/domestic-abuse-lockdown\" target=\"_blank\" rel=\"noopener noreferrer\">domestic abuse crisis\u003c/a>.” Not only was it an unlikely subject for a mainstream men’s magazine, it wasn’t afraid to lay the bulk of the responsibility for soaring rates of intimate partner violence squarely at the feet of men. The wider culture that perpetuates misogyny didn’t get off lightly either.\u003c/p>\n\u003cp>What’s more, the story was exhaustive, featuring extensive statistics, interviews with survivors, a guide to \u003cem>all\u003c/em> behavior that should be acknowledged as abusive (including coercion), plus a list titled the “Eight Stages of Abuse.” George Chesterton’s essay even took the time to debunk old myths about violence against women, in particular the notion of “crimes of passion.”\u003c/p>\n\u003cp>The feature didn’t just feel unprecedented within the context of the genre of publication, it felt like a sliver of hope in a week when it was hard to muster any. Again: that men with a national platform are trying to teach other men how to not be abusive shouldn’t come as a surprise in 2021, but somehow it still does. And the reason for that is because, even post-#MeToo, there has remained a pervasive sense that sexual violence and harassment are women’s issues to be spoken about and handled by women. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Men—especially ones with public platforms (the ones who could reach the most people and do the most good)—often seem afraid of saying the wrong thing. Subsequently, they just don’t say anything at all. (Lest we forget that in 2018, even in the midst of the Harvey Weinstein/#MeToo firestorm, the majority of men wearing Time’s Up pins at the Golden Globes and Academy Awards avoided saying anything direct about harassment or assault.)\u003c/p>\n\u003cp>Make no mistake, male allies are what women need right now. It’s what we have needed forever, actually. So men: we’re not there to shut down the degrading conversations about us, but you are. And you’re not there when we’re being harassed because they don’t do that in front of you. (Women are safer traveling with a man, not just because of issues around physical strength, but also because harassers assume a man walking next to a woman has already staked his claim to her. And they accept that over a woman’s right to be left alone.)\u003c/p>\n\u003cp>Women know that the type of men who abuse and harass women are the type of men who only listen to other men. So men, if you’re not doing it already, we need you to talk to one another. We need you to speak to the men who don’t view us as human enough to listen to. We need you to speak to the ones that feel entitled to our time. We need you to speak to the ones that think that yelling at us on the street is all in good fun. And we even need you to speak to the ones that seem kind of scared of us—because sometimes it’s them that end up being the most frightening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If this week has taught us anything, it’s that feminist outrage can be a co-ed sport. And it’s one that we need to keep in season always and forever, moving forward, if anything is ever going to change. “There are very many good men out there,” \u003ca href=\"https://time.com/5159093/eve-ensler-men-need-to-join-the-fight-to-end-violence-against-women/\" target=\"_blank\" rel=\"noopener noreferrer\">Eve Ensler\u003c/a> noted during a 2018 video interview with \u003cem>Time\u003c/em>. “The problem is, any violence against women, standing up for women has not become their central issue. And when it does—when they say, ‘This will be my central issue’—the world will change.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Allen v. Farrow' is the Most Damning Indictment of Woody Allen Yet",
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"content": "\u003cp>There are many astonishing things about HBO’s new four-part documentary series, \u003ca href=\"https://www.hbo.com/documentaries/allen-v-farrow\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. The first is just how many people in it—family, friends, neighbors, babysitters, ex-lovers—freely testify to Woody Allen’s unhealthy interest in young girls, including his own adopted daughter, Dylan. The second is how those revelations hit you as a bystander. As the four episodes unfurl, you feel shock, disbelief, disgust, and a deep, unerring sense that this will be—this \u003cem>has\u003c/em> to be—the end of Woody Allen.\u003c/p>\n\u003cp>The truth of the matter is that much of the information laid out in \u003cem>Allen v. Farrow\u003c/em> has been readily available for nearly 30 years. Originally published in a \u003cem>Vanity Fai\u003c/em>r article titled “\u003ca href=\"https://archive.vanityfair.com/article/share/cc1a6aed-1d33-45fd-99c6-731825a7f4d4?gclid=CjwKCAiAmrOBBhA0EiwArn3mfMFgBE64LDvo9n859q4Rk3kdkXTQyi6-JprDGx3xHUcofjL3iqdh3xoC-y4QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Mia’s Story\u003c/a>” back in November 1992, the many (\u003cem>many\u003c/em>) testimonies against Allen have been out there, hiding in plain sight, ever since. That they have gone so widely unheeded, ignored and swept under the rug all this time has been hurting the Farrow family—especially \u003ca href=\"https://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dylan\u003c/a>—ever since. And its bearing witness to that pain ultimately gives \u003cem>Allen v. Farrow\u003c/em> its power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKTOj7HnLbo\u003c/p>\n\u003cp>The series does an excellent job at deftly cutting through the defenses Allen has relied on, and hidden behind, since 1992. His narrative has long been that Farrow made up child sex-abuse allegations to get revenge on Allen after he left her for Soon-Yi Previn—one of her other adopted children. Allen’s defenders have argued repeatedly that 7-year-old Dylan had been coached by Farrow to tell lies about him.\u003c/p>\n\u003cp>That version of events is undercut in \u003cem>Allen v. Farrow\u003c/em> by corroborated statements that describe in detail Woody Allen’s smothering and obsessive behavior toward Dylan from the time she was a toddler. Mia Farrow talks of his “incredible amount of focus on her” from the time she was born. As Dylan got older, multiple witnesses report, Allen’s behavior towards her became more and more inappropriate. One even says she saw him molest Dylan at an outing to the beach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is also said that Allen often isolated Dylan from her siblings. “He followed Dylan wherever she went,” says Priscilla Gilman, a family friend who spent a lot of time with the kids when they were growing up. “We’d be playing … and I’d look up and he’d be just standing there watching. Silently.”\u003c/p>\n\u003cp>We also hear of interventions from mental health professionals, including Dr. Ethel Person, who contacted Farrow after seeing Allen interacting with Dylan in a manner she found concerning. Allen began therapy in the late ’80s to deal with his “inappropriately intense” behavior with Dylan, but the consensus at the time was that he simply had not been around enough children to express his affection appropriately. His promises to work on it eased Farrow’s concerns, even though Dylan was in therapy by the age of 5 because of how withdrawn she had become, particularly around her father. [aside postid='pop_98603']\u003c/p>\n\u003cp>One gets a visceral sense here of how suddenly regular family life imploded once and for all when Farrow describes finding graphic naked photos of Soon-Yi at Allen’s apartment. (The couple had always kept separate residences.) The children, without exception, withdrew from Allen and supported their mother. It was at this time that Dylan said she realized, “It’s not just me,” and spoke up about Allen sexually abusing her.\u003c/p>\n\u003cp>That assertion is compounded here by the revelation that Soon-Yi was visiting Allen’s apartment long before their relationship was made public. The documentary reports: “Allen’s housekeeper testified she found what she believed to be semen stains on the sheets and condom wrappers in the wastebasket after Soon-Yi’s visits, while Soon-Yi was still in high school.”\u003c/p>\n\u003cp>The series also does a meticulous job presenting Woody Allen’s art as speaking for itself. In the second episode, one \u003cem>Washington Post \u003c/em>journalist, Richard Morgan, discusses the content of Princeton University’s Woody Allen Archives. Morgan, having studied the scripts, notes and short stories from Allen’s collection, shares his concerns about the content.\u003c/p>\n\u003cp>“The thing that kept on showing up was this focus he had on very young women,” Morgan says. “It’s basically always an older guy trying to deal with this younger woman … It was almost assembly-line, every single time: 18-year-old, 18-year-old, 18-year-old. Cocktail waitress, cocktail waitress, stewardess, cocktail waitress, college student … The repetitiveness of the attention sort of got into this obsessive territory.”\u003c/p>\n\u003cp>A montage of clips from Allen’s films are played—including \u003cem>Crimes and Misdemeanors\u003c/em>, \u003cem>Whatever Works\u003c/em>, \u003cem>Mighty Aphrodite\u003c/em>, \u003cem>Husbands and Wives\u003c/em>, \u003cem>Broadway Danny Rose\u003c/em>, \u003cem>September\u003c/em>, \u003cem>A Midsummer Night’s Sex Comedy\u003c/em>, \u003cem>Another Woman\u003c/em> and \u003cem>Manhattan\u003c/em>—to illustrate the point. All feature relationships between older men and much younger woman. “In a sense, he’s grooming us,” offers Alissa Wilkinson, a journalist at \u003cem>Vox\u003c/em>. “When you see it over and over, it kind of attunes you to thinking ‘This is normal, this is just a thing that people do. It’s fine, and there’s nothing I should feel odd about.'”\u003c/p>\n\u003cp>Then comes the revelation that, in 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079522/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Manhattan\u003c/em>\u003c/a>, the relationship between 46-year-old Isaac and 17-year-old Mary was based on a “secret relationship” Allen had in real life with a teenager named Christina Englehardt. Englehardt says her relationship with Allen, which began when she was 17, was born out of a desire to feel safe after being raped four times in her earlier teens. “I know it’s taken a toll on me,” she says of her relationship with Allen. “It’s taken a toll on how I’ve been in relationships—trust in relationships. And it’s made me a super vigilant mother.” [aside postid='arts_13876101']\u003c/p>\n\u003cp>Though Allen doesn’t participate in \u003cem>Allen v. Farrow\u003c/em> directly, his voice and perspective is heard throughout, via passages from the audiobook version of his 2020 autobiography, \u003cem>Apropos of Nothing\u003c/em>. Arguments between he and Farrow are also here in the form of taped—and often chilling—telephone conversations after the Soon-Yi scandal became public.\u003c/p>\n\u003cp>In the end,\u003cem> Allen v. Farrow\u003c/em> leaves no stone unturned in its presentation of what happened to this family during the ’80s and ’90s. And though there is much here that is already in the public domain, seeing it condensed and explored in such depth, alongside family photos and home videos, is a shocking and heart-wrenching experience. Anyone who watches these four episodes won’t be left with any questions about Allen’s behavior—only how he got away with it for so long.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Allen v. Farrow’ premieres Sunday, Feb. 21, on HBO.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are many astonishing things about HBO’s new four-part documentary series, \u003ca href=\"https://www.hbo.com/documentaries/allen-v-farrow\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a>. The first is just how many people in it—family, friends, neighbors, babysitters, ex-lovers—freely testify to Woody Allen’s unhealthy interest in young girls, including his own adopted daughter, Dylan. The second is how those revelations hit you as a bystander. As the four episodes unfurl, you feel shock, disbelief, disgust, and a deep, unerring sense that this will be—this \u003cem>has\u003c/em> to be—the end of Woody Allen.\u003c/p>\n\u003cp>The truth of the matter is that much of the information laid out in \u003cem>Allen v. Farrow\u003c/em> has been readily available for nearly 30 years. Originally published in a \u003cem>Vanity Fai\u003c/em>r article titled “\u003ca href=\"https://archive.vanityfair.com/article/share/cc1a6aed-1d33-45fd-99c6-731825a7f4d4?gclid=CjwKCAiAmrOBBhA0EiwArn3mfMFgBE64LDvo9n859q4Rk3kdkXTQyi6-JprDGx3xHUcofjL3iqdh3xoC-y4QAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Mia’s Story\u003c/a>” back in November 1992, the many (\u003cem>many\u003c/em>) testimonies against Allen have been out there, hiding in plain sight, ever since. That they have gone so widely unheeded, ignored and swept under the rug all this time has been hurting the Farrow family—especially \u003ca href=\"https://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dylan\u003c/a>—ever since. And its bearing witness to that pain ultimately gives \u003cem>Allen v. Farrow\u003c/em> its power.\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/cKTOj7HnLbo'\n title='//www.youtube.com/embed/cKTOj7HnLbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series does an excellent job at deftly cutting through the defenses Allen has relied on, and hidden behind, since 1992. His narrative has long been that Farrow made up child sex-abuse allegations to get revenge on Allen after he left her for Soon-Yi Previn—one of her other adopted children. Allen’s defenders have argued repeatedly that 7-year-old Dylan had been coached by Farrow to tell lies about him.\u003c/p>\n\u003cp>That version of events is undercut in \u003cem>Allen v. Farrow\u003c/em> by corroborated statements that describe in detail Woody Allen’s smothering and obsessive behavior toward Dylan from the time she was a toddler. Mia Farrow talks of his “incredible amount of focus on her” from the time she was born. As Dylan got older, multiple witnesses report, Allen’s behavior towards her became more and more inappropriate. One even says she saw him molest Dylan at an outing to the beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is also said that Allen often isolated Dylan from her siblings. “He followed Dylan wherever she went,” says Priscilla Gilman, a family friend who spent a lot of time with the kids when they were growing up. “We’d be playing … and I’d look up and he’d be just standing there watching. Silently.”\u003c/p>\n\u003cp>We also hear of interventions from mental health professionals, including Dr. Ethel Person, who contacted Farrow after seeing Allen interacting with Dylan in a manner she found concerning. Allen began therapy in the late ’80s to deal with his “inappropriately intense” behavior with Dylan, but the consensus at the time was that he simply had not been around enough children to express his affection appropriately. His promises to work on it eased Farrow’s concerns, even though Dylan was in therapy by the age of 5 because of how withdrawn she had become, particularly around her father. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One gets a visceral sense here of how suddenly regular family life imploded once and for all when Farrow describes finding graphic naked photos of Soon-Yi at Allen’s apartment. (The couple had always kept separate residences.) The children, without exception, withdrew from Allen and supported their mother. It was at this time that Dylan said she realized, “It’s not just me,” and spoke up about Allen sexually abusing her.\u003c/p>\n\u003cp>That assertion is compounded here by the revelation that Soon-Yi was visiting Allen’s apartment long before their relationship was made public. The documentary reports: “Allen’s housekeeper testified she found what she believed to be semen stains on the sheets and condom wrappers in the wastebasket after Soon-Yi’s visits, while Soon-Yi was still in high school.”\u003c/p>\n\u003cp>The series also does a meticulous job presenting Woody Allen’s art as speaking for itself. In the second episode, one \u003cem>Washington Post \u003c/em>journalist, Richard Morgan, discusses the content of Princeton University’s Woody Allen Archives. Morgan, having studied the scripts, notes and short stories from Allen’s collection, shares his concerns about the content.\u003c/p>\n\u003cp>“The thing that kept on showing up was this focus he had on very young women,” Morgan says. “It’s basically always an older guy trying to deal with this younger woman … It was almost assembly-line, every single time: 18-year-old, 18-year-old, 18-year-old. Cocktail waitress, cocktail waitress, stewardess, cocktail waitress, college student … The repetitiveness of the attention sort of got into this obsessive territory.”\u003c/p>\n\u003cp>A montage of clips from Allen’s films are played—including \u003cem>Crimes and Misdemeanors\u003c/em>, \u003cem>Whatever Works\u003c/em>, \u003cem>Mighty Aphrodite\u003c/em>, \u003cem>Husbands and Wives\u003c/em>, \u003cem>Broadway Danny Rose\u003c/em>, \u003cem>September\u003c/em>, \u003cem>A Midsummer Night’s Sex Comedy\u003c/em>, \u003cem>Another Woman\u003c/em> and \u003cem>Manhattan\u003c/em>—to illustrate the point. All feature relationships between older men and much younger woman. “In a sense, he’s grooming us,” offers Alissa Wilkinson, a journalist at \u003cem>Vox\u003c/em>. “When you see it over and over, it kind of attunes you to thinking ‘This is normal, this is just a thing that people do. It’s fine, and there’s nothing I should feel odd about.'”\u003c/p>\n\u003cp>Then comes the revelation that, in 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079522/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Manhattan\u003c/em>\u003c/a>, the relationship between 46-year-old Isaac and 17-year-old Mary was based on a “secret relationship” Allen had in real life with a teenager named Christina Englehardt. Englehardt says her relationship with Allen, which began when she was 17, was born out of a desire to feel safe after being raped four times in her earlier teens. “I know it’s taken a toll on me,” she says of her relationship with Allen. “It’s taken a toll on how I’ve been in relationships—trust in relationships. And it’s made me a super vigilant mother.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Allen doesn’t participate in \u003cem>Allen v. Farrow\u003c/em> directly, his voice and perspective is heard throughout, via passages from the audiobook version of his 2020 autobiography, \u003cem>Apropos of Nothing\u003c/em>. Arguments between he and Farrow are also here in the form of taped—and often chilling—telephone conversations after the Soon-Yi scandal became public.\u003c/p>\n\u003cp>In the end,\u003cem> Allen v. Farrow\u003c/em> leaves no stone unturned in its presentation of what happened to this family during the ’80s and ’90s. And though there is much here that is already in the public domain, seeing it condensed and explored in such depth, alongside family photos and home videos, is a shocking and heart-wrenching experience. Anyone who watches these four episodes won’t be left with any questions about Allen’s behavior—only how he got away with it for so long.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Allen v. Farrow’ premieres Sunday, Feb. 21, on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19",
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"content": "\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnR5DxP2e2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. [aside postid='arts_13881934']\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Lady and the Dale\u003c/em>, a new HBO documentary miniseries co-directed by Nick Cammilleri and Zackary Drucker, has been promoted by the network with most of its secrets held in check. Tune in to this nonfiction biography series, the promos suggest, and learn the tale of a female automobile executive who took on the Detroit automakers and tried to market a gas-efficient car in the 1970s, at the height of the oil crisis.\u003c/p>\n\u003cp>But \u003cem>The Lady and the Dale\u003c/em> is so much more than that. Yes, the second installment of this four-part series is mostly about the weird three-wheeled car called the Dale. But the first hour of this miniseries is mostly about a small-time but enterprising con artist. The third hour is about a trial for grand larceny, with the defendant doing double duty as her own defense attorney. And the fourth hour is so full of surprises and revelations that I’m not even going to go there.\u003c/p>\n\u003cp>The promos held their cards close to the vest, but the opening minutes of \u003cem>The Lady and the Dale\u003c/em> hint at some of the intrigue to come. It starts with a vintage 1970s clip from \u003cem>The Price Is Right,\u003c/em> where one of the prizes being offered is a brand new Dale automobile, and works quickly through some other period TV footage that adds many layers of mystery to the story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOZWutV0jwU\u003c/p>\n\u003cp>And what a story it tells! It begins as the story of Jerry Dean Michael, who grew up in small-town Indiana and eventually became a con artist, working every scheme from counterfeiting money and checks to selling bogus get-rich-quick schemes door-to-door. Jerry married and had five kids, but kept grifting—and every time the law got close, he’d pick up the family and move. Over one stretch, according to the documentary, the family moved 21 times in three years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Up to this point, \u003cem>The Lady and the Dale \u003c/em>has the flavor and momentum of \u003cem>Catch Me if You Can, \u003c/em>that Steven Spielberg movie with \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks\u003c/a> on the trail of a teenage con man played by Leonardo DiCaprio. But before the first episode is over, Jerry comes out as a trans woman and changes her name to Elizabeth Carmichael. The kids are raised to call Liz mom and the series goes on from there, with Liz starting the 20th Century Motor Company and introducing the Dale. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Eventually, Liz is arrested for fraud, and goes on trial to defend the lack of production of the Dale. But in the ’70s, with transgender issues so relatively unfamiliar and widely misunderstood, she goes on trial in other ways, too—especially in the media.\u003c/p>\n\u003cp>Thanks to lots of old clips and some shockingly candid interviews, this close look at the media treatment of her is one of the most valuable aspects of \u003cem>The Lady and the Dale. \u003c/em>The narrative manages to name-drop such pioneering transgender public figures as Christine Jorgensen and Renée Richards—but they’re far more than footnotes and become part of this story. By part four, when the NBC series \u003cem>Unsolved Mysteries\u003c/em> gets into the act, you not only feel for Liz, but get a strong sense of unfair media bias in some very palpable specific examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One more thing about \u003cem>The Lady and the Dale. \u003c/em>It uses animation more—and more imaginatively—than almost any documentary I’ve ever seen. When the filmmakers have family members and friends and enemies all talking about Liz, but don’t have footage other than those talking heads, stiff but lively animation is used. And while the \u003ca href=\"https://www.npr.org/2018/05/08/609349238/duplass-brothers-on-working-together-and-growing-apart-we-are-ex-soulmates\" target=\"_blank\" rel=\"noopener noreferrer\">Duplass Brothers\u003c/a>, Mark and Jay, are among this show’s executive producers, special credit should be given to the director of animation, Sean Donnelly. Watch \u003cem>The Lady and the Dale, \u003c/em>and you’ll see why he deserves mention—and why the program itself deserves attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lady+And+The+Dale%2C%27+A+4-Part+Series+About+A+3-Wheeled+Car%2C+Is+A+Wild+Ride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lady and the Dale\u003c/em>, a new HBO documentary miniseries co-directed by Nick Cammilleri and Zackary Drucker, has been promoted by the network with most of its secrets held in check. Tune in to this nonfiction biography series, the promos suggest, and learn the tale of a female automobile executive who took on the Detroit automakers and tried to market a gas-efficient car in the 1970s, at the height of the oil crisis.\u003c/p>\n\u003cp>But \u003cem>The Lady and the Dale\u003c/em> is so much more than that. Yes, the second installment of this four-part series is mostly about the weird three-wheeled car called the Dale. But the first hour of this miniseries is mostly about a small-time but enterprising con artist. The third hour is about a trial for grand larceny, with the defendant doing double duty as her own defense attorney. And the fourth hour is so full of surprises and revelations that I’m not even going to go there.\u003c/p>\n\u003cp>The promos held their cards close to the vest, but the opening minutes of \u003cem>The Lady and the Dale\u003c/em> hint at some of the intrigue to come. It starts with a vintage 1970s clip from \u003cem>The Price Is Right,\u003c/em> where one of the prizes being offered is a brand new Dale automobile, and works quickly through some other period TV footage that adds many layers of mystery to the story.\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/FOZWutV0jwU'\n title='//www.youtube.com/embed/FOZWutV0jwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And what a story it tells! It begins as the story of Jerry Dean Michael, who grew up in small-town Indiana and eventually became a con artist, working every scheme from counterfeiting money and checks to selling bogus get-rich-quick schemes door-to-door. Jerry married and had five kids, but kept grifting—and every time the law got close, he’d pick up the family and move. Over one stretch, according to the documentary, the family moved 21 times in three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Up to this point, \u003cem>The Lady and the Dale \u003c/em>has the flavor and momentum of \u003cem>Catch Me if You Can, \u003c/em>that Steven Spielberg movie with \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks\u003c/a> on the trail of a teenage con man played by Leonardo DiCaprio. But before the first episode is over, Jerry comes out as a trans woman and changes her name to Elizabeth Carmichael. The kids are raised to call Liz mom and the series goes on from there, with Liz starting the 20th Century Motor Company and introducing the Dale. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, Liz is arrested for fraud, and goes on trial to defend the lack of production of the Dale. But in the ’70s, with transgender issues so relatively unfamiliar and widely misunderstood, she goes on trial in other ways, too—especially in the media.\u003c/p>\n\u003cp>Thanks to lots of old clips and some shockingly candid interviews, this close look at the media treatment of her is one of the most valuable aspects of \u003cem>The Lady and the Dale. \u003c/em>The narrative manages to name-drop such pioneering transgender public figures as Christine Jorgensen and Renée Richards—but they’re far more than footnotes and become part of this story. By part four, when the NBC series \u003cem>Unsolved Mysteries\u003c/em> gets into the act, you not only feel for Liz, but get a strong sense of unfair media bias in some very palpable specific examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One more thing about \u003cem>The Lady and the Dale. \u003c/em>It uses animation more—and more imaginatively—than almost any documentary I’ve ever seen. When the filmmakers have family members and friends and enemies all talking about Liz, but don’t have footage other than those talking heads, stiff but lively animation is used. And while the \u003ca href=\"https://www.npr.org/2018/05/08/609349238/duplass-brothers-on-working-together-and-growing-apart-we-are-ex-soulmates\" target=\"_blank\" rel=\"noopener noreferrer\">Duplass Brothers\u003c/a>, Mark and Jay, are among this show’s executive producers, special credit should be given to the director of animation, Sean Donnelly. Watch \u003cem>The Lady and the Dale, \u003c/em>and you’ll see why he deserves mention—and why the program itself deserves attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lady+And+The+Dale%2C%27+A+4-Part+Series+About+A+3-Wheeled+Car%2C+Is+A+Wild+Ride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When COVID-19 forced HBO’s \u003cem>Euphoria\u003c/em> to press pause on filming Season 2, it could have completely scuppered the show’s momentum. Season 1 ultimately succeeded in conveying the trials of Gen Z adolescence, but it also focused a little too much time and energy on proving how dysfunctional its characters were. In the end, \u003cem>Euphoria\u003c/em> worked because of the strength and commitment of its supremely talented cast, but it also occasionally got bogged down in its own desire to shock. [aside postid='pop_95643']\u003c/p>\n\u003cp>The two special episodes to emerge out of the pandemic—“Rue,” which aired in December, and “Jules,” which started streaming over the weekend—have benefitted from slowing down their focus and allowing the show’s two lead characters to exhale. In taking the time to permit Rue (played by Zendaya) and Jules (Hunter Schafer) to verbalize everything they have going on internally, the show has managed to sharply pinpoint the agony of teenage life in a much more effective way than the first season did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s1P5czi0H_g\u003c/p>\n\u003cp>In Sunday’s hour-long episode, Jules, 17 and trans, is seen in a therapy session. There, she discusses her relationship to men, to Rue—who recently crossed over from best friend to love interest—and to her own body. In Season 1, the agony of teen girlhood was conveyed, by and large, via a variety of characters dealing with physical and emotional exploitations. The girls were subjected to sexual assaults, coercion, pressure to take nude photos, and slut-shaming.\u003c/p>\n\u003cp>All of those things pose real threats to the lives of teenage girls, of course. But it was in Sunday’s episode that I was most viscerally reminded of the weight and near-constant discomfort inherent in being a teenage girl. Jules, in describing to her therapist why Rue felt so much like home, made a speech that took me right back to high school in a way no other piece of television ever has.\u003c/p>\n\u003cblockquote>\u003cp>Most girls when you first talk to them, they automatically analyze and compare themselves to you. Then they search for where you fit into their hierarchy and treat you accordingly. Like, how close you are to what they collectively want to be in their heads. And even if they’ve mastered the art of hiding it with smiles and nods and small talk, you still catch them doing it. You know, their eyes wandering over your face, or the quick takes up and down your body. They watch how your clothes hang off your torso, or they look for what tags are on your clothes to see where you shop, or they’ll watch your hands to find fucked up cuticles or chipped nail polish. It would be a sensual experience if it wasn’t so fucking terrifying.\u003c/p>\u003c/blockquote>\n\u003cp>So often television boils down the teen experience to girls being unnecessarily mean to each other. But here, we got much closer to the truth. Girls, under near-constant pressure to be the thinnest, the prettiest, the best dressed, take it out on each other even when they don’t mean to, because of living in a near-constant state of insecurity. Many can’t help but scrutinize others as a means to figure out what they’re doing wrong, or in what way they could be better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her special episode, Jules also talks about the realization that her attachment to taking hormones is, in part, rooted in trying to keep her voice high and her body small. And while she’s talking about her experience from a trans perspective, those sentiments ring true for a lot of adolescent girls. Smallness is, Jules believes, “what men want.” In real life, that belief system is one of the reasons puberty is considered a “\u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3761220/\" target=\"_blank\" rel=\"noopener noreferrer\">critical risk period\u003c/a>” for eating disorders in girls. I don’t recall ever hearing this discussed on a fictional TV show in a way that didn’t also convey the girl as somehow vain, self-indulgent or self-destructive. [aside postid='pop_112407']\u003c/p>\n\u003cp>Consistently in the show, Rue has been an example of a girl who has neither the time nor the energy to worry about such things. Instead, she has her grief, depression and addiction to contend with. But her unwillingness to do what is expected of her—her inability to fit in—is one of the things that alienates her from her peers and makes her feel so unlovable. Jules and Rue share deep feelings for each other precisely because they are both so different from the other girls. That’s why they know how to accept each other unconditionally. One scene in which Rue is seen lovingly helping Jules inject her hormones hammers the point home.\u003c/p>\n\u003cp>When you are an alienated teenager, finding a friend who will love you unconditionally and without judgment can be a literal life-saver. When we saw Rue in her special in December, alienated from Jules, she was once again so untethered, so uncomfortable in her own skin, that she expressed a desire to not “be here anymore.” It reminded me of conversations I had in my teens. Sometimes it was my friends saying it; sometimes it was me. That specific degree of pain—the pain of trying to find your place in a seemingly hostile world—had been wiped from my memory until \u003cem>Euphoria\u003c/em> brought it all screaming back.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dA1-ibkOzAA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these two special episodes, \u003cem>Euphoria\u003c/em> elevated its teen characters out of their narrow niches—the drug addict and the desperate-for-love trans girl—and gave them a depth that made them infinitely more relatable for much wider audiences. The specials successfully conveyed the small agonies that are ever-present for so many teenage girls, especially the ones who are a little bit different. And those intense and memorable performances from both Hunter Schafer and Zendaya were cathartic—not just for the teens still going through it, but for the countless adults who already survived it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two special episodes to emerge out of the pandemic—“Rue,” which aired in December, and “Jules,” which started streaming over the weekend—have benefitted from slowing down their focus and allowing the show’s two lead characters to exhale. In taking the time to permit Rue (played by Zendaya) and Jules (Hunter Schafer) to verbalize everything they have going on internally, the show has managed to sharply pinpoint the agony of teenage life in a much more effective way than the first season did.\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/s1P5czi0H_g'\n title='//www.youtube.com/embed/s1P5czi0H_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Sunday’s hour-long episode, Jules, 17 and trans, is seen in a therapy session. There, she discusses her relationship to men, to Rue—who recently crossed over from best friend to love interest—and to her own body. In Season 1, the agony of teen girlhood was conveyed, by and large, via a variety of characters dealing with physical and emotional exploitations. The girls were subjected to sexual assaults, coercion, pressure to take nude photos, and slut-shaming.\u003c/p>\n\u003cp>All of those things pose real threats to the lives of teenage girls, of course. But it was in Sunday’s episode that I was most viscerally reminded of the weight and near-constant discomfort inherent in being a teenage girl. Jules, in describing to her therapist why Rue felt so much like home, made a speech that took me right back to high school in a way no other piece of television ever has.\u003c/p>\n\u003cblockquote>\u003cp>Most girls when you first talk to them, they automatically analyze and compare themselves to you. Then they search for where you fit into their hierarchy and treat you accordingly. Like, how close you are to what they collectively want to be in their heads. And even if they’ve mastered the art of hiding it with smiles and nods and small talk, you still catch them doing it. You know, their eyes wandering over your face, or the quick takes up and down your body. They watch how your clothes hang off your torso, or they look for what tags are on your clothes to see where you shop, or they’ll watch your hands to find fucked up cuticles or chipped nail polish. It would be a sensual experience if it wasn’t so fucking terrifying.\u003c/p>\u003c/blockquote>\n\u003cp>So often television boils down the teen experience to girls being unnecessarily mean to each other. But here, we got much closer to the truth. Girls, under near-constant pressure to be the thinnest, the prettiest, the best dressed, take it out on each other even when they don’t mean to, because of living in a near-constant state of insecurity. Many can’t help but scrutinize others as a means to figure out what they’re doing wrong, or in what way they could be better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her special episode, Jules also talks about the realization that her attachment to taking hormones is, in part, rooted in trying to keep her voice high and her body small. And while she’s talking about her experience from a trans perspective, those sentiments ring true for a lot of adolescent girls. Smallness is, Jules believes, “what men want.” In real life, that belief system is one of the reasons puberty is considered a “\u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3761220/\" target=\"_blank\" rel=\"noopener noreferrer\">critical risk period\u003c/a>” for eating disorders in girls. I don’t recall ever hearing this discussed on a fictional TV show in a way that didn’t also convey the girl as somehow vain, self-indulgent or self-destructive. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consistently in the show, Rue has been an example of a girl who has neither the time nor the energy to worry about such things. Instead, she has her grief, depression and addiction to contend with. But her unwillingness to do what is expected of her—her inability to fit in—is one of the things that alienates her from her peers and makes her feel so unlovable. Jules and Rue share deep feelings for each other precisely because they are both so different from the other girls. That’s why they know how to accept each other unconditionally. One scene in which Rue is seen lovingly helping Jules inject her hormones hammers the point home.\u003c/p>\n\u003cp>When you are an alienated teenager, finding a friend who will love you unconditionally and without judgment can be a literal life-saver. When we saw Rue in her special in December, alienated from Jules, she was once again so untethered, so uncomfortable in her own skin, that she expressed a desire to not “be here anymore.” It reminded me of conversations I had in my teens. Sometimes it was my friends saying it; sometimes it was me. That specific degree of pain—the pain of trying to find your place in a seemingly hostile world—had been wiped from my memory until \u003cem>Euphoria\u003c/em> brought it all screaming back.\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/dA1-ibkOzAA'\n title='//www.youtube.com/embed/dA1-ibkOzAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In these two special episodes, \u003cem>Euphoria\u003c/em> elevated its teen characters out of their narrow niches—the drug addict and the desperate-for-love trans girl—and gave them a depth that made them infinitely more relatable for much wider audiences. The specials successfully conveyed the small agonies that are ever-present for so many teenage girls, especially the ones who are a little bit different. And those intense and memorable performances from both Hunter Schafer and Zendaya were cathartic—not just for the teens still going through it, but for the countless adults who already survived it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MClMxqD-HNA\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” [aside postid='pop_8412']\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Cynic’s Guide to 5 (Totally Real) Supernatural Christmas Rom-Coms",
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"content": "\u003cp>Last month, \u003ca href=\"https://www.npr.org/2020/11/12/933843001/the-cider-sipping-mitten-wearing-guide-to-2020-holiday-movies\" target=\"_blank\" rel=\"noopener noreferrer\">NPR compiled a list\u003c/a> of all the new holiday movies arriving on our screens for 2020’s festive season. And there were 89 of them. \u003cem>EIGHTY-NINE\u003c/em>.\u003c/p>\n\u003cp>At this point, in the vast and endless sea of Christmas rom-coms, it’s almost impossible to tell one apart from another. Which might be why a weird sub-genre exists in which the Christmas rom-com tacks on a supernatural element. Because nothing livens up eggnog and longing glances over the fire like throwing a dead guy and some time travel into the mix. Here are five that are streaming right now. (There will be spoilers. And also cynicism.)\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Family Man\u003c/em>\u003c/strong>, 2000, HBO\u003cbr>\n\u003cb>Supernatural something:\u003c/b> A parallel universe\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OnouJoQs52c\u003c/p>\n\u003cp>\u003cem>The Family Man\u003c/em> is basically a vicious two-hour assault on anyone who doesn’t want to have kids. Nicolas Cage plays Jack, a successful, womanizing businessman who gets sent to a parallel universe by Don Cheadle. (I sat through two hours of this crap and never once figured out who or what Don Cheadle is supposed to be.) Anyway, Cheadle (Magic man? Angel? Demon?) meets Jack, Jack goes to sleep in his shiny New York apartment wearing tiny manties, and when Jack wakes up, he’s in the suburbs (where everything is wood-paneled for some reason), wearing regular old boxer shorts. (\u003cem>Oh, the humanity!\u003c/em>)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his new life, Jack is married to his college girlfriend Kate, living in New Jersey, and selling tires for a living. He also has two loud children, a big dog and a life-advice-giving Jeremy Piven who lives up the street. (\u003cem>The horror!\u003c/em>) I think the people who made \u003cem>The Family Man\u003c/em> want us to think this is better than Jack’s old life. The problem is, it patently isn’t. It’s a nightmare. This is the only movie in history that has ever successfully made me sympathize with The Man.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Knight Before Christmas\u003c/em>\u003c/strong>, 2019, Netflix\u003cbr>\n\u003cb>Supernatural something:\u003c/b> A time-traveling knight\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JtwROpSVWc&t=11s\u003c/p>\n\u003cp>\u003cem>The Knight Before Christmas\u003c/em> is basically a romantic remake of \u003ca href=\"https://www.imdb.com/title/tt0104187/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Encino Man\u003c/em>\u003c/a>. Sure, there’s a 14th-century knight instead of a caveman, and snow instead of sunshine, and a romance-starved schoolteacher instead of Pauly Shore. But other than that? It’s goddamn \u003cem>Encino Man\u003c/em>.\u003c/p>\n\u003cp>In case you’re too young to know what \u003cem>Encino Man\u003c/em> is, here. Have this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1xkTN1Z1rTQ\u003c/p>\n\u003cp>Link the caveman and Cole the knight do a lot of the same crap, including but not limited to:\u003c/p>\n\u003cul>\n\u003cli>learning about life from TV,\u003c/li>\n\u003cli>lighting fires in inappropriate places,\u003c/li>\n\u003cli>spitting out food they don’t like,\u003c/li>\n\u003cli>hoarding food they do like,\u003c/li>\n\u003cli>picking up and imitating American slang,\u003c/li>\n\u003cli>being babe magnets.\u003c/li>\n\u003c/ul>\n\u003cp>I was genuinely surprised when the knight didn’t have a triumphant dance routine at the end.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Christmas Prince 3: The Royal Baby\u003c/em>\u003c/strong>, 2019, Netflix\u003cbr>\n\u003cstrong>Supernatural something:\u003c/strong> A curse\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RK0zCsxBG3U\u003c/p>\n\u003cp>It’s going to sound like I’m being hyperbolic when I say this, but I promise you, I am not. \u003cem>A Christmas Prince 3\u003c/em> is the most boring movie in the history of the world. (Even in the country of Aldovia where this is set, a nation that doesn’t even exist.) It’s about baby showers (\u003cem>meh\u003c/em>) and lost international treaties (\u003cem>yawn\u003c/em>) and a very non-eventful blizzard. The extremely dull premise is not helped by the fact that the prince here is basically what would happen if someone built a human man out of dry toast. (White bread, naturally.) Why in \u003cem>The Crown\u003c/em>’s good name did anyone make three of these?! I can’t. I just… I can’t and you shouldn’t either.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Last Christmas\u003c/em>\u003c/strong>, 2019, HBO\u003cbr>\n\u003cb>Supernatural something:\u003c/b> Ghost boyfriend\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z9CEIcmWmtA\u003c/p>\n\u003cp>The protagonist in \u003cem>Last Christmas\u003c/em> is a total asshole. Whether she’s killing her friend’s pet fish, outing her sister at the dinner table (!) or getting her boss’ small business broken into, she’s so awful it is impossible to care about anything she does, no matter how much acting her eyebrows do. (Even while George Michael’s delightful greatest hits are playing in the background!)\u003c/p>\n\u003cp>One day a bland archetype of a Handsome Man shows up and tries to make her less of an asshole. He takes her ice-skating, gently touches her heart transplant scar, and sings pop songs with her. Later she finds out that Handsome Man is, in fact, dead and—here comes the extra twist!—he’s the guy her heart transplant came from. Because nothing says seasonal movie fun like dragging the lyrics from Wham!’s “Last Christmas” out to their most literal conclusion.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Spirit of Christmas\u003c/em>\u003c/strong>, 2015, Hulu\u003cbr>\n\u003cstrong>Supernatural something:\u003c/strong> A(nother) ghost boyfriend\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JrwC1NdRZw8\u003c/p>\n\u003cp>Kate is a callous attorney with a string of failed relationships and no plans for the holidays. (\u003cem>Whattabish!\u003c/em>) Her boss tasks her with getting an old inn sold before the end of the year for reasons that are too boring to go into. But appraisers keep bailing on her because the building is haunted by a ghost named Daniel (\u003cem>awesome ghost name\u003c/em>) who looks like a hipster barber from Brooklyn. It’s not an accident either—at one point he literally asks where the Fernet Branca is. [aside postid='arts_13889581']\u003c/p>\n\u003cp>Anyhoo, Kate decides to stay in the inn, where she discovers that Daniel turns into a real boy (\u003cem>because sure, okay\u003c/em>) every year between Dec. 12 and 24. Kate and Daniel decide to figure out why this happens to him every year and, wouldn’tyaknowit? After a spot of gratuitous shirtlessness (\u003cem>ghosts iron clothes too!\u003c/em>), some bauble dangling, and some mystery uncovering, Kate does some spirit smooching. This movie is truly awful and everyone should watch it immediately.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy holidays, everyone!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, \u003ca href=\"https://www.npr.org/2020/11/12/933843001/the-cider-sipping-mitten-wearing-guide-to-2020-holiday-movies\" target=\"_blank\" rel=\"noopener noreferrer\">NPR compiled a list\u003c/a> of all the new holiday movies arriving on our screens for 2020’s festive season. And there were 89 of them. \u003cem>EIGHTY-NINE\u003c/em>.\u003c/p>\n\u003cp>At this point, in the vast and endless sea of Christmas rom-coms, it’s almost impossible to tell one apart from another. Which might be why a weird sub-genre exists in which the Christmas rom-com tacks on a supernatural element. Because nothing livens up eggnog and longing glances over the fire like throwing a dead guy and some time travel into the mix. Here are five that are streaming right now. (There will be spoilers. And also cynicism.)\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Family Man\u003c/em>\u003c/strong>, 2000, HBO\u003cbr>\n\u003cb>Supernatural something:\u003c/b> A parallel universe\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OnouJoQs52c'\n title='//www.youtube.com/embed/OnouJoQs52c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Family Man\u003c/em> is basically a vicious two-hour assault on anyone who doesn’t want to have kids. Nicolas Cage plays Jack, a successful, womanizing businessman who gets sent to a parallel universe by Don Cheadle. (I sat through two hours of this crap and never once figured out who or what Don Cheadle is supposed to be.) Anyway, Cheadle (Magic man? Angel? Demon?) meets Jack, Jack goes to sleep in his shiny New York apartment wearing tiny manties, and when Jack wakes up, he’s in the suburbs (where everything is wood-paneled for some reason), wearing regular old boxer shorts. (\u003cem>Oh, the humanity!\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his new life, Jack is married to his college girlfriend Kate, living in New Jersey, and selling tires for a living. He also has two loud children, a big dog and a life-advice-giving Jeremy Piven who lives up the street. (\u003cem>The horror!\u003c/em>) I think the people who made \u003cem>The Family Man\u003c/em> want us to think this is better than Jack’s old life. The problem is, it patently isn’t. It’s a nightmare. This is the only movie in history that has ever successfully made me sympathize with The Man.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Knight Before Christmas\u003c/em>\u003c/strong>, 2019, Netflix\u003cbr>\n\u003cb>Supernatural something:\u003c/b> A time-traveling knight\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/-JtwROpSVWc'\n title='//www.youtube.com/embed/-JtwROpSVWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Knight Before Christmas\u003c/em> is basically a romantic remake of \u003ca href=\"https://www.imdb.com/title/tt0104187/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Encino Man\u003c/em>\u003c/a>. Sure, there’s a 14th-century knight instead of a caveman, and snow instead of sunshine, and a romance-starved schoolteacher instead of Pauly Shore. But other than that? It’s goddamn \u003cem>Encino Man\u003c/em>.\u003c/p>\n\u003cp>In case you’re too young to know what \u003cem>Encino Man\u003c/em> is, here. Have this.\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/1xkTN1Z1rTQ'\n title='//www.youtube.com/embed/1xkTN1Z1rTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Link the caveman and Cole the knight do a lot of the same crap, including but not limited to:\u003c/p>\n\u003cul>\n\u003cli>learning about life from TV,\u003c/li>\n\u003cli>lighting fires in inappropriate places,\u003c/li>\n\u003cli>spitting out food they don’t like,\u003c/li>\n\u003cli>hoarding food they do like,\u003c/li>\n\u003cli>picking up and imitating American slang,\u003c/li>\n\u003cli>being babe magnets.\u003c/li>\n\u003c/ul>\n\u003cp>I was genuinely surprised when the knight didn’t have a triumphant dance routine at the end.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Christmas Prince 3: The Royal Baby\u003c/em>\u003c/strong>, 2019, Netflix\u003cbr>\n\u003cstrong>Supernatural something:\u003c/strong> A curse\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/RK0zCsxBG3U'\n title='//www.youtube.com/embed/RK0zCsxBG3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s going to sound like I’m being hyperbolic when I say this, but I promise you, I am not. \u003cem>A Christmas Prince 3\u003c/em> is the most boring movie in the history of the world. (Even in the country of Aldovia where this is set, a nation that doesn’t even exist.) It’s about baby showers (\u003cem>meh\u003c/em>) and lost international treaties (\u003cem>yawn\u003c/em>) and a very non-eventful blizzard. The extremely dull premise is not helped by the fact that the prince here is basically what would happen if someone built a human man out of dry toast. (White bread, naturally.) Why in \u003cem>The Crown\u003c/em>’s good name did anyone make three of these?! I can’t. I just… I can’t and you shouldn’t either.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Last Christmas\u003c/em>\u003c/strong>, 2019, HBO\u003cbr>\n\u003cb>Supernatural something:\u003c/b> Ghost boyfriend\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/z9CEIcmWmtA'\n title='//www.youtube.com/embed/z9CEIcmWmtA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The protagonist in \u003cem>Last Christmas\u003c/em> is a total asshole. Whether she’s killing her friend’s pet fish, outing her sister at the dinner table (!) or getting her boss’ small business broken into, she’s so awful it is impossible to care about anything she does, no matter how much acting her eyebrows do. (Even while George Michael’s delightful greatest hits are playing in the background!)\u003c/p>\n\u003cp>One day a bland archetype of a Handsome Man shows up and tries to make her less of an asshole. He takes her ice-skating, gently touches her heart transplant scar, and sings pop songs with her. Later she finds out that Handsome Man is, in fact, dead and—here comes the extra twist!—he’s the guy her heart transplant came from. Because nothing says seasonal movie fun like dragging the lyrics from Wham!’s “Last Christmas” out to their most literal conclusion.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Spirit of Christmas\u003c/em>\u003c/strong>, 2015, Hulu\u003cbr>\n\u003cstrong>Supernatural something:\u003c/strong> A(nother) ghost boyfriend\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/JrwC1NdRZw8'\n title='//www.youtube.com/embed/JrwC1NdRZw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kate is a callous attorney with a string of failed relationships and no plans for the holidays. (\u003cem>Whattabish!\u003c/em>) Her boss tasks her with getting an old inn sold before the end of the year for reasons that are too boring to go into. But appraisers keep bailing on her because the building is haunted by a ghost named Daniel (\u003cem>awesome ghost name\u003c/em>) who looks like a hipster barber from Brooklyn. It’s not an accident either—at one point he literally asks where the Fernet Branca is. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyhoo, Kate decides to stay in the inn, where she discovers that Daniel turns into a real boy (\u003cem>because sure, okay\u003c/em>) every year between Dec. 12 and 24. Kate and Daniel decide to figure out why this happens to him every year and, wouldn’tyaknowit? After a spot of gratuitous shirtlessness (\u003cem>ghosts iron clothes too!\u003c/em>), some bauble dangling, and some mystery uncovering, Kate does some spirit smooching. This movie is truly awful and everyone should watch it immediately.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy holidays, everyone!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PbM84z4XYgc\u003c/p>\n\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\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/PbM84z4XYgc'\n title='//www.youtube.com/embed/PbM84z4XYgc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The most gripping moment in the HBO miniseries \u003cem>The Undoing\u003c/em> involves the most natural of things. It happens in the first episode, between a bunch of wealthy Manhattan moms planning a fundraising event for their hoity-toity private school, and Elena (Matilda De Angelis), the noticeably younger and conventionally hot new mom whose fourth-grade son got in on a scholarship.\u003c/p>\n\u003cp>As the women prattle on about the sorts of things 1-percenters prattle on about at their meeting, Elena is quiet but eerie, casting intense glares at the others while trying to calm her restless infant daughter. She casually lifts up her top, pulls down her bra and begins breastfeeding; the editing cuts between the disapproving glances of the other women at the table, underscored by the soft rumbling of an ominous orchestral score. And then: A close-up of the baby latched onto Elena dissolves into an even closer shot of that same image, followed by an overhead shot of the women sitting silently at the table, all looking in Elena’s direction.\u003c/p>\n\u003cp>It’s a deliciously crafted scene, overtly positioning Elena as the outsider to this gilded cohort and edging into the realm of parody, perhaps unintentionally. Is it an homage to ’70s thrillers like \u003cem>The Stepford Wives\u003c/em>, which found ways to draw out horror and paranoia from socioeconomic anxieties? I’m not sure, but I do know the rest of David E. Kelley’s latest sudsy drama about the bougiest of the bougie doesn’t come close to being this exciting again. (Five of six episodes were made available to critics in advance; all episodes were directed by Susanne Bier.)\u003c/p>\n\u003cp>In \u003cem>The Undoing \u003c/em>Kelley reunites with Nicole Kidman, along with many of the same themes they explored together in \u003cem>Big Little Lies. \u003c/em>(Lies big and little abound here, too, albeit among elites of a different coast.) As Grace Fraser, one of those wealthy Manhattan moms, Kidman plays yet another woman trying to keep it together while falling apart under the weight of family secrets. She’s a respected therapist who excels at helping her clients recognize their self-destructive habits and untangle their messy personal lives, but—surprise!—everything at home is not as it seems.\u003c/p>\n\u003cp>Without spoiling: \u003cem>The Undoing \u003c/em>contains lust, murder, a missing person and cheeky, extremely self-aware lines like “I thought that was the whole essence of modern parenting, isn’t it? Keeping them protected from reality for as long as possible so that when they finally emerge they can’t cope and end up self-harming.” A handsomely craggy Hugh Grant co-stars as Jonathan, Grace’s husband and a children’s oncologist; Noah Jupe plays Henry, their young son. I have not read the novel from which the show is adapted—\u003cem>You Should Have Known\u003c/em>, by Jean Hanff Korelitz—but anyone who’s digested enough \u003cem>Lifetime \u003c/em>movies and glossy melodramas chronicling the disintegration of idyllic upper-class families is likely to figure out where most of the various twists are heading, a few steps ahead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t an inherently bad thing; part of the pleasure of watching erotic mystery thrillers such as this is the adherence to a formula and familiar beats like furtive glances and dramatic courtroom revelations. But even with this cast (Donald Sutherland and Édgar Ramírez also star) and this subject matter, \u003cem>The Undoing \u003c/em>somehow manages to be a slog, neither titillating nor particularly suspenseful. Whereas \u003cem>Big Little Lies \u003c/em>Season 1 struck the right balance between self-awareness and intrigue, with A-list actresses chewing scenery in the most delectable of ways, the meta cracks about the Frasers’ insular bubble feel forced, and Kidman, Grant and the rest of the adult cast are unable to make the material crackle.\u003c/p>\n\u003cp>And there are undercooked efforts to provide some level of commentary, but they barely scratch the surface; they wind up seeming like lip service or totally missed opportunities. The camera will occasionally linger on the mostly black and brown extras in the background of the prison scenes, perhaps to serve as some kind of acknowledgment of the prison industrial complex? It’s a choice indicating a fear of truly addressing the fact of the gigantic wealth and racial gap that hangs so prominently over this family’s circumstances.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It can be perhaps unfair to critique a work based on what it’s \u003cem>not—\u003c/em>the creators made a choice to focus on what they wanted to focus on. But I couldn’t help but want more of Elena and her family’s perspectives in opposition to the Frasers, for a more insightful study of class and privilege that the show teases but doesn’t deliver upon. Instead, she is a frustratingly enigmatic pawn in the plot’s boilerplate execution, and \u003cem>The Undoing \u003c/em>unfolds sleepily on all fronts: as suspense, as excess and as an engrossing character study.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Undoing%2C%27+Secrets%2C+Murder+And+Zzzzs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most gripping moment in the HBO miniseries \u003cem>The Undoing\u003c/em> involves the most natural of things. It happens in the first episode, between a bunch of wealthy Manhattan moms planning a fundraising event for their hoity-toity private school, and Elena (Matilda De Angelis), the noticeably younger and conventionally hot new mom whose fourth-grade son got in on a scholarship.\u003c/p>\n\u003cp>As the women prattle on about the sorts of things 1-percenters prattle on about at their meeting, Elena is quiet but eerie, casting intense glares at the others while trying to calm her restless infant daughter. She casually lifts up her top, pulls down her bra and begins breastfeeding; the editing cuts between the disapproving glances of the other women at the table, underscored by the soft rumbling of an ominous orchestral score. And then: A close-up of the baby latched onto Elena dissolves into an even closer shot of that same image, followed by an overhead shot of the women sitting silently at the table, all looking in Elena’s direction.\u003c/p>\n\u003cp>It’s a deliciously crafted scene, overtly positioning Elena as the outsider to this gilded cohort and edging into the realm of parody, perhaps unintentionally. Is it an homage to ’70s thrillers like \u003cem>The Stepford Wives\u003c/em>, which found ways to draw out horror and paranoia from socioeconomic anxieties? I’m not sure, but I do know the rest of David E. Kelley’s latest sudsy drama about the bougiest of the bougie doesn’t come close to being this exciting again. (Five of six episodes were made available to critics in advance; all episodes were directed by Susanne Bier.)\u003c/p>\n\u003cp>In \u003cem>The Undoing \u003c/em>Kelley reunites with Nicole Kidman, along with many of the same themes they explored together in \u003cem>Big Little Lies. \u003c/em>(Lies big and little abound here, too, albeit among elites of a different coast.) As Grace Fraser, one of those wealthy Manhattan moms, Kidman plays yet another woman trying to keep it together while falling apart under the weight of family secrets. She’s a respected therapist who excels at helping her clients recognize their self-destructive habits and untangle their messy personal lives, but—surprise!—everything at home is not as it seems.\u003c/p>\n\u003cp>Without spoiling: \u003cem>The Undoing \u003c/em>contains lust, murder, a missing person and cheeky, extremely self-aware lines like “I thought that was the whole essence of modern parenting, isn’t it? Keeping them protected from reality for as long as possible so that when they finally emerge they can’t cope and end up self-harming.” A handsomely craggy Hugh Grant co-stars as Jonathan, Grace’s husband and a children’s oncologist; Noah Jupe plays Henry, their young son. I have not read the novel from which the show is adapted—\u003cem>You Should Have Known\u003c/em>, by Jean Hanff Korelitz—but anyone who’s digested enough \u003cem>Lifetime \u003c/em>movies and glossy melodramas chronicling the disintegration of idyllic upper-class families is likely to figure out where most of the various twists are heading, a few steps ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This isn’t an inherently bad thing; part of the pleasure of watching erotic mystery thrillers such as this is the adherence to a formula and familiar beats like furtive glances and dramatic courtroom revelations. But even with this cast (Donald Sutherland and Édgar Ramírez also star) and this subject matter, \u003cem>The Undoing \u003c/em>somehow manages to be a slog, neither titillating nor particularly suspenseful. Whereas \u003cem>Big Little Lies \u003c/em>Season 1 struck the right balance between self-awareness and intrigue, with A-list actresses chewing scenery in the most delectable of ways, the meta cracks about the Frasers’ insular bubble feel forced, and Kidman, Grant and the rest of the adult cast are unable to make the material crackle.\u003c/p>\n\u003cp>And there are undercooked efforts to provide some level of commentary, but they barely scratch the surface; they wind up seeming like lip service or totally missed opportunities. The camera will occasionally linger on the mostly black and brown extras in the background of the prison scenes, perhaps to serve as some kind of acknowledgment of the prison industrial complex? It’s a choice indicating a fear of truly addressing the fact of the gigantic wealth and racial gap that hangs so prominently over this family’s circumstances.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It can be perhaps unfair to critique a work based on what it’s \u003cem>not—\u003c/em>the creators made a choice to focus on what they wanted to focus on. But I couldn’t help but want more of Elena and her family’s perspectives in opposition to the Frasers, for a more insightful study of class and privilege that the show teases but doesn’t deliver upon. Instead, she is a frustratingly enigmatic pawn in the plot’s boilerplate execution, and \u003cem>The Undoing \u003c/em>unfolds sleepily on all fronts: as suspense, as excess and as an engrossing character study.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Undoing%2C%27+Secrets%2C+Murder+And+Zzzzs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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