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"content": "\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kK2ZGOsbeqo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. [aside postid='arts_13873021']\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\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=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kK2ZGOsbeqo'\n title='//www.youtube.com/embed/kK2ZGOsbeqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\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=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "HBO's Adaptation of Stephen King's 'The Outsider' is Full of Frightening Promise",
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"content": "\u003cp>The first thing you should know about HBO’s new limited series\u003cem> \u003c/em>is that it makes Jason Bateman’s role in \u003ca href=\"https://www.imdb.com/title/tt5071412/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ozark\u003c/em>\u003c/a> look like \u003cem>Peppa Pig\u003c/em>. It’s difficult to overstate the shock of seeing this clean-cut American treasure emerging from a forest, drenched in blood and holding a stare that could prompt hell to freeze over—but it does give you some idea of the unrelenting nature of \u003cem>The Outsider\u003c/em>.\u003c/p>\n\u003cp>The 10-part adaptation of Stephen King’s best-selling 2018 novel premieres Jan. 12. And judging from a press preview screening of the first two episodes, it’s seeped in all that makes King’s literature so beloved: small town wholesomeness rubbing up against a seedy underworld, mundane family life invaded by frightening forces and calm, rational adults trying to wrestle with deeply mysterious circumstances.\u003c/p>\n\u003cp>At the center of \u003cem>The Outsider\u003c/em> is the gruesome murder of a child, and a suspect standing next to a mountain of evidence that simultaneously exonerates him and confirms his guilt. Can someone be in two places at once? Do doppelgängers exist? Or is a supernatural third party involved? \u003cem>The Outsider\u003c/em> sets up these questions early on and leaves them hanging tantalizingly in the air.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eNDKWr3Xmjk\u003c/p>\n\u003cp>Searing scenes from the two episodes further hammer home the King-ian dichotomies at play. A mom smashes up a table of quaint finger foods with a baseball bat; an average Joe dog-walker finds a scene of abject, bloody horror in the woods; a sweet-faced little girl stares into the corner of her empty room and insists a man is there. These kinds of juxtapositions set a tone that is both deeply unsettling and thoroughly compelling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Further enhancing these visuals are classic themes, and nods to the original texts they came from. In the first two hours alone, as tragedy keeps begetting tragedy, it’s impossible not to think of \u003cem>Hamlet\u003c/em>. Lest we fail to notice the thematic resemblance, a character quotes the Shakespearean text directly. (“There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy,” District Attorney Bill Samuels tells Detective Ralph Anderson,)\u003c/p>\n\u003cp>There are also nods to 1955’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Night_of_the_Hunter_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Night of the Hunter\u003c/em>\u003c/a>, with its aggrieved widow, stalked children and mysterious, shadowy killer. The parallels between \u003cem>Night\u003c/em>‘s killer with his “Love” and “Hate” knuckle tattoos and \u003cem>The Outsider\u003c/em>‘s recovering addict with “Must” and “Can’t” tattooed on his knuckles doesn’t feel like a coincidence.\u003c/p>\n\u003cp>What remains to be seen is if HBO can maintain this exquisite momentum for the rest of the series. Hulu’s Stephen King series \u003cem>Castle Rock \u003c/em>started in similarly brilliant form, then promptly \u003ca href=\"https://www.kqed.org/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all\" target=\"_blank\" rel=\"noopener noreferrer\">fell apart in spectacular style\u003c/a> at the end of Season 1. \u003cem>Castle Rock\u003c/em> was focused on an outsider who prompted death and mayhem wherever he went, and\u003cem> The Outsider\u003c/em> has a hooded figure who appears to do the same.\u003c/p>\n\u003cp>With that in mind, viewers will have to hope against hope that HBO can provide a more satisfying explanation and ending to their King story than Hulu did in 2018. If \u003cem>The Outsider\u003c/em> can successfully maintain what it’s done in these two episodes, there’ll be no stopping it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>HBO’s\u003c/em> The Outsider \u003cem>premieres Sunday, Jan. 12 at 9pm.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing you should know about HBO’s new limited series\u003cem> \u003c/em>is that it makes Jason Bateman’s role in \u003ca href=\"https://www.imdb.com/title/tt5071412/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ozark\u003c/em>\u003c/a> look like \u003cem>Peppa Pig\u003c/em>. It’s difficult to overstate the shock of seeing this clean-cut American treasure emerging from a forest, drenched in blood and holding a stare that could prompt hell to freeze over—but it does give you some idea of the unrelenting nature of \u003cem>The Outsider\u003c/em>.\u003c/p>\n\u003cp>The 10-part adaptation of Stephen King’s best-selling 2018 novel premieres Jan. 12. And judging from a press preview screening of the first two episodes, it’s seeped in all that makes King’s literature so beloved: small town wholesomeness rubbing up against a seedy underworld, mundane family life invaded by frightening forces and calm, rational adults trying to wrestle with deeply mysterious circumstances.\u003c/p>\n\u003cp>At the center of \u003cem>The Outsider\u003c/em> is the gruesome murder of a child, and a suspect standing next to a mountain of evidence that simultaneously exonerates him and confirms his guilt. Can someone be in two places at once? Do doppelgängers exist? Or is a supernatural third party involved? \u003cem>The Outsider\u003c/em> sets up these questions early on and leaves them hanging tantalizingly in the air.\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/eNDKWr3Xmjk'\n title='//www.youtube.com/embed/eNDKWr3Xmjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Searing scenes from the two episodes further hammer home the King-ian dichotomies at play. A mom smashes up a table of quaint finger foods with a baseball bat; an average Joe dog-walker finds a scene of abject, bloody horror in the woods; a sweet-faced little girl stares into the corner of her empty room and insists a man is there. These kinds of juxtapositions set a tone that is both deeply unsettling and thoroughly compelling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Further enhancing these visuals are classic themes, and nods to the original texts they came from. In the first two hours alone, as tragedy keeps begetting tragedy, it’s impossible not to think of \u003cem>Hamlet\u003c/em>. Lest we fail to notice the thematic resemblance, a character quotes the Shakespearean text directly. (“There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy,” District Attorney Bill Samuels tells Detective Ralph Anderson,)\u003c/p>\n\u003cp>There are also nods to 1955’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Night_of_the_Hunter_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Night of the Hunter\u003c/em>\u003c/a>, with its aggrieved widow, stalked children and mysterious, shadowy killer. The parallels between \u003cem>Night\u003c/em>‘s killer with his “Love” and “Hate” knuckle tattoos and \u003cem>The Outsider\u003c/em>‘s recovering addict with “Must” and “Can’t” tattooed on his knuckles doesn’t feel like a coincidence.\u003c/p>\n\u003cp>What remains to be seen is if HBO can maintain this exquisite momentum for the rest of the series. Hulu’s Stephen King series \u003cem>Castle Rock \u003c/em>started in similarly brilliant form, then promptly \u003ca href=\"https://www.kqed.org/pop/105585/the-castle-rock-finale-is-probably-going-to-disappoint-us-all\" target=\"_blank\" rel=\"noopener noreferrer\">fell apart in spectacular style\u003c/a> at the end of Season 1. \u003cem>Castle Rock\u003c/em> was focused on an outsider who prompted death and mayhem wherever he went, and\u003cem> The Outsider\u003c/em> has a hooded figure who appears to do the same.\u003c/p>\n\u003cp>With that in mind, viewers will have to hope against hope that HBO can provide a more satisfying explanation and ending to their King story than Hulu did in 2018. If \u003cem>The Outsider\u003c/em> can successfully maintain what it’s done in these two episodes, there’ll be no stopping it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>HBO’s\u003c/em> The Outsider \u003cem>premieres Sunday, Jan. 12 at 9pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For most, New Year’s Eve is a time of celebration—an evening to put on your dancing shoes and shake off the last year’s highs and lows in preparation for the one to come. So, on the surface, spending an evening with the driest host in late night might seem like rather an odd choice—especially since he’s also the one most likely to give you a civics lesson.\u003c/p>\n\u003cp>Oliver, though, is uniquely positioned to assist in dissecting the events of 2019—both good and bad—and do it in a way that is guaranteed to make you laugh. Just look at how his HBO show \u003ca href=\"https://www.hbo.com/last-week-tonight-with-john-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Week Tonight\u003c/em>\u003c/a> handled the end of 2018: a \u003cem>Fast and the Furious\u003c/em> parody involving Armie Hammer, terrible waxworks of U.S. presidents and a jockstrap once owned by Russell Crowe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TB_wx0dAPU0\u003c/p>\n\u003cp>So if what you’re seeking for the final hours of 2019 involves serious reflection, politics \u003cem>and\u003c/em> comedy with a hefty side of surreality, an evening with Oliver is definitely the way to go. If you’re lucky, maybe his old pals—like \u003ca href=\"https://www.youtube.com/watch?v=xa0oY7LQmtg\" target=\"_blank\" rel=\"noopener noreferrer\">Chiijohn\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i296CJMOZpk\" target=\"_blank\" rel=\"noopener noreferrer\">Catheter Cowboy\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=mCVomYlxILc\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Nutterbutter\u003c/a> the giant squirrel—might just show up to sing “Auld Lang Syne.” And if you still want to dance your way into 2020? Fear not: Oliver is sticking around for a couple of days to soothe even the worst 2019 hangovers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most, New Year’s Eve is a time of celebration—an evening to put on your dancing shoes and shake off the last year’s highs and lows in preparation for the one to come. So, on the surface, spending an evening with the driest host in late night might seem like rather an odd choice—especially since he’s also the one most likely to give you a civics lesson.\u003c/p>\n\u003cp>Oliver, though, is uniquely positioned to assist in dissecting the events of 2019—both good and bad—and do it in a way that is guaranteed to make you laugh. Just look at how his HBO show \u003ca href=\"https://www.hbo.com/last-week-tonight-with-john-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Week Tonight\u003c/em>\u003c/a> handled the end of 2018: a \u003cem>Fast and the Furious\u003c/em> parody involving Armie Hammer, terrible waxworks of U.S. presidents and a jockstrap once owned by Russell Crowe.\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/TB_wx0dAPU0'\n title='//www.youtube.com/embed/TB_wx0dAPU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if what you’re seeking for the final hours of 2019 involves serious reflection, politics \u003cem>and\u003c/em> comedy with a hefty side of surreality, an evening with Oliver is definitely the way to go. If you’re lucky, maybe his old pals—like \u003ca href=\"https://www.youtube.com/watch?v=xa0oY7LQmtg\" target=\"_blank\" rel=\"noopener noreferrer\">Chiijohn\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i296CJMOZpk\" target=\"_blank\" rel=\"noopener noreferrer\">Catheter Cowboy\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=mCVomYlxILc\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Nutterbutter\u003c/a> the giant squirrel—might just show up to sing “Auld Lang Syne.” And if you still want to dance your way into 2020? Fear not: Oliver is sticking around for a couple of days to soothe even the worst 2019 hangovers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>It is hopefully clear that a review and discussion of the \u003c/em>Succession \u003cem>season two finale is not suitable for people who do not want to be spoiled regarding the \u003c/em>Succession \u003cem>season two finale. If it is not clear: You will know what happened on this episode by the time you’re finished reading this piece. Choose wisely. \u003c/em>\u003c/p>\n\u003cp>We began this season of \u003cem>Succession\u003c/em> with Kendall Roy half-submerged in what was supposed to be a relaxing spa soak but was more like a very wet metaphor. And he didn’t get his head above water until the last 30 seconds of the second-season finale.\u003c/p>\n\u003cp>There were times when this season looked like it might be about Kendall’s sister, Shiv (Sarah Snook)—her father, Logan (Brian Cox), dangled the “top job” at the company, as he calls it, in front of her face, then refused to give it to her. Shiv’s restlessness seemed like perhaps it was the biggest threat to Logan.\u003c/p>\n\u003cp>There were times when it seemed like it might be about Kendall smoothly transitioning into being his father’s traumatized but functional right hand. After \u003ca href=\"https://www.npr.org/2019/08/12/750189331/succession-back-to-the-pit-of-vipers-for-another-season-of-discontent\">ending last season in the weakest possible position\u003c/a>, needing to be rescued from the father he had been trying to overthrow, Kendall became unfailingly loyal. When he put on a good performance at the congressional hearings, it suggested we could be headed for a conclusion where Kendall finally became his father’s favorite—something he wants so desperately that it drips from Jeremy Strong’s performance almost as much as sweat so often seems to.\u003c/p>\n\u003cp>But no. No, Logan decided it was time for a “blood sacrifice,” as he put it—someone who could be thrown to the wolves and blamed for the devastating revelations about Waystar Royco’s cruise division. Someone who would satisfy the shareholders that the problem was being taken seriously; someone who would give those shareholders, as one told Logan on the phone, “cover.” So Logan gathered the family and the top lieutenants—Kendall, Shiv and Tom, Roman (Kieran Culkin), even Greg—on the Roy yacht and watched each one try to respectfully, gently argue that the person sacrificed should emphatically not be them, no offense to whomever they suggested it \u003cem>should \u003c/em>be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The obvious answer was Tom (Matthew Macfadyen), Shiv’s husband. He had been in charge of cruises; he had a logical connection to the crimes committed, even if they predated his leadership. After all, one of the things someone needed to take responsibility for was the cover-up, and Tom carried out key elements of the cover-up. He wouldn’t even have been just a figurehead. Tom had the advantage of being both largely expendable to the family and \u003cem>actually guilty\u003c/em>, not that they would care. Particularly if they threw in poor dopey cousin Greg, Tom’s assistant, they thought maybe that would be enough.\u003c/p>\n\u003cp>Sarah Snook brought out Shiv’s shocking shrug-it-off energy in the scene—let’s just call it the Roy Family Murder Breakfast—in which she seemed to agree with the group that the blood sacrifice should be Tom. Her husband! Her own husband! Sure, why not? Tom was kinda \u003cem>like \u003c/em>family, she explained, without actually being family. Which you can translate as “he’s close enough for the shareholders to think it really means something for us to hand him over to be sacrificed, when in fact, \u003cem>eh\u003c/em>.”\u003c/p>\n\u003cp>But it was not to be Tom, because once he and Shiv were in private and he made clear how devastated he was by her betrayal—and once that opened other wounds in their marriage to the point where he questioned its status as a going concern—Shiv shifted gears. She went to her father and said it could not be Tom. By then, it appeared that it was likely to be either Tom or Kendall who would suffer, and Shiv took the coward’s way out: She chose while refusing to choose, saying she couldn’t make the decision … but it couldn’t be Tom. (The degree to which Shiv truly loves Tom has always been an intriguing element of their marriage. Her saving him is a data point, but so was her initially being prepared not to.)\u003c/p>\n\u003cp>And so Logan chose Kendall to be sacrificed, breaking the news gently—or what passes for gently in a man whose idea of bedside manner would be leaving you one-third of your ice chips while you’re in the hospital and he’s at your bedside feeling thirsty. Kendall would have to make a statement that he had known about the misconduct in the cruise division, he had engineered the cover-up, he had done it all, and in Logan’s words, it had gone “no higher.” Kendall would sacrifice himself to save his father, and ultimately to save the company.\u003c/p>\n\u003cp>So when did Kendall decide … not to? When did Kendall decide that instead of falling on his sword, he would stroll into that press conference, whip out a set of note cards and call his father “a malignant presence, a bully and a liar”? When did he decide that even knowing his father could ruin him with the story of the waiter who died after Kendall drove off a bridge, it was over? When did he decide that instead of reciting “I saw their plan; my dad’s plan was better” over and over as he did in the first episode of this season, and instead of saying “my dad told me to” the way he did when he destroyed Vaulter, he would not only sacrifice his father as the mover behind the cruises debacle but reveal his father’s deceitful, vicious personality?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l9TKHvvaMfE\u003c/p>\n\u003cp>My money is on the moment in which, referring to the death of the waiter, Logan repeated an abbreviation that came out of the cruise division, used when a migrant worker or a sex worker died on a ship: NRPI. \u003cem>No Real Person Involved\u003c/em>. It is shorthand, really, for the idea that only some people matter.\u003c/p>\n\u003cp>Logan believes in NRPI. Roman believes in it. Shiv just NRPI’d \u003cem>her own husband\u003c/em> until he specifically asked her not to. But Kendall is, perhaps ironically given the protection he accepted from his father, not an NRPI kind of person. He agonized over that accident. He hated himself for shutting down Vaulter—an act he proved he could carry out in an NRPI-style manner, provided he didn’t pay too much attention to feeling his skin go gray and clammy.\u003c/p>\n\u003cp>Kendall had already been reminded during the trip that his father doesn’t care about his feelings: Logan had forced Kendall to send his girlfriend away in the middle of the trip, a fresh humiliation that increased Kendall’s isolation. Things built up. Logan’s callous conducting of the Family Murder Breakfast and his announcement that he needed a “skull to wave” showed Kendall how ready his father was to throw away his kids, not to mention faithful lieutenants like Gerri (J. Smith-Cameron), Karl (David Rasche) and Frank (Peter Friedman).\u003c/p>\n\u003cp>When Logan told Kendall that his was the skull that would be waved, a resigned Kendall asked him a question. Had Logan ever believed that Kendall could do the top job? After the profound cruelty of acting like he’d never really thought about it, Logan came around to an answer: “You’re not a killer,” he said. “You have to be a killer.” Jeremy Strong’s performance in this critical scene with Cox looks very different on second viewing. What originally played as agonized resignation to his situation and an understanding that he’d have to be the skull, as it were, looks now like agonized resignation to the fact that he will never have his father’s love and approval this way. He’ll never get there by trying to be good and loyal and perfect; that’s what he was doing all season, and he’s still the skull. This family only respects killers. Not the kind who accidentally cause the deaths of waiters, either. Only the kind who kill with ice-cold calculation.\u003c/p>\n\u003cp>So that’s what Kendall did.\u003c/p>\n\u003cp>Because Kendall, after learning the bad news, wound up on a plane back home with Greg (Nicholas Braun). This was extraordinarily bad luck for Logan, who had no way of knowing Greg had first saved some of the troublesome records Tom told him to get rid of. He had no way of knowing that when Tom found out and insisted on burning what was left, Greg \u003cem>once again \u003c/em>reserved a few in case he ever needed them. Greg spent this entire season being Chekhov’s knucklehead, and ultimately, like all the things metaphorically rendered unto Chekhov, he mattered a great deal.\u003c/p>\n\u003cp>In order to preserve the suspense of the ending, in order to create the gasp when Kendall goes to the press conference and says “BUT” between what sounds like it will be an admission of guilt and what becomes a blast of accusations against his father, we didn’t see what happened on the plane home. We saw Greg gently tell Kendall he felt bad that Kendall had to be the blood sacrifice. And we’ve seen a friendship growing between Greg and Kendall, the only family member who’s ever shown the kid any kindness.\u003c/p>\n\u003cp>Presumably, at some point during that flight, they talked. Greg revealed that he was holding on to the evidence Kendall needed to make accusations against Logan stick. Or Kendall opened up about being unable to get his father’s love. Or both. The key to Kendall’s ability to finally carry out the fully public attack on his father that’s been brewing since season one episode one, the key to Kendall’s escape from his father’s “protection” that’s been brewing since season two episode one? It turned out to be Greg. Greg, who saved his secret papers in a folder labeled “SECRET.”\u003c/p>\n\u003cp>This was a season that was enjoyable to watch as it proceeded but that looks far more impressive in light of the finale. It looked at times like they had flattened Kendall’s affect too much; perhaps he was too much changed by the accident after Shiv’s wedding, too devastated and defanged to maintain the powerful dynamic between himself and his father that drove the first season. The character of Rhea Jarrell never entirely jelled, despite the reliable presence of Holly Hunter. The strange sexual connection between Roman and Gerri was picked up and put down a little abruptly, although the notion that they share \u003cem>some \u003c/em>sort of bond flared during the Family Murder Breakfast when Roman rose to her defense. Shiv’s waffling about whether she was really prepared to do battle with her father—spoiler alert: She was not—makes more sense as a prelude to her weakness in the finale. It is Shiv, perhaps, who is not a killer.\u003c/p>\n\u003cp>And now, Kendall’s dead eyes all season make narrative sense. The story was going \u003cem>here\u003c/em>, to this place where the torment and the misery accumulated, to where Kendall was willing to blow up his family because it was better than all the other choices. Even the embarrassing tribute rap at Logan’s party is now, in context, just one of the last gasps of his desperate attempt to earn his father’s approval. Now, that rap is just more evidence that Kendall may have looked cold in the old peepers, but in fact he was doing \u003cem>everything \u003c/em>he could think of. He played a relatively non-flashy role in the now-infamous “Boar on the Floor” sequence in the episode “Hunting,” precisely because he was keeping out of as much of the drama as he could. In fact, his role in “Hunting” and at several other points during the season was to do his father’s dirty work without complaint—to inform, to obey, to expose. He was the good son.\u003c/p>\n\u003cp>The last bit of business to deal with is Logan’s tiny hint of a smile as he watches his son accuse him of being a monster. Is he a little impressed that Kendall is more of a killer than he thought? Does he enjoy a fight? Did he somehow \u003cem>intend \u003c/em>for this to happen, so that he himself would wind up being the skull and the company would live on? (That last theory was raised with me by a reader on Twitter, and I must say: I hadn’t thought of it, but I don’t think Logan would gamble that hard with his company.)\u003c/p>\n\u003cp>My vote is for some combination of all of it. Logan doesn’t mind a fight, and he hates weakness even more than aggressive attack. Some part of him only respects people who come for him. That’s not to say he won’t attempt to crush them like bugs as I can only assume he will do with Kendall.\u003c/p>\n\u003cp>There are so many lessons to take away from this episode: It is futile to seek an immoral person’s approval if you’re not prepared to be immoral yourself. Even if your husband is a goober, you’re going to feel bad if you offer to let your father destroy him. When you burn a clutch of secret papers, make sure you see them all go. Don’t alienate the tall oddball; you never know what secrets he may be hiding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And finally: If someone writes you a rap, at least try to look grateful.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roy%2C+Oh+Roy%3A+That+%27Succession%27+Finale+Was+A+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>It is hopefully clear that a review and discussion of the \u003c/em>Succession \u003cem>season two finale is not suitable for people who do not want to be spoiled regarding the \u003c/em>Succession \u003cem>season two finale. If it is not clear: You will know what happened on this episode by the time you’re finished reading this piece. Choose wisely. \u003c/em>\u003c/p>\n\u003cp>We began this season of \u003cem>Succession\u003c/em> with Kendall Roy half-submerged in what was supposed to be a relaxing spa soak but was more like a very wet metaphor. And he didn’t get his head above water until the last 30 seconds of the second-season finale.\u003c/p>\n\u003cp>There were times when this season looked like it might be about Kendall’s sister, Shiv (Sarah Snook)—her father, Logan (Brian Cox), dangled the “top job” at the company, as he calls it, in front of her face, then refused to give it to her. Shiv’s restlessness seemed like perhaps it was the biggest threat to Logan.\u003c/p>\n\u003cp>There were times when it seemed like it might be about Kendall smoothly transitioning into being his father’s traumatized but functional right hand. After \u003ca href=\"https://www.npr.org/2019/08/12/750189331/succession-back-to-the-pit-of-vipers-for-another-season-of-discontent\">ending last season in the weakest possible position\u003c/a>, needing to be rescued from the father he had been trying to overthrow, Kendall became unfailingly loyal. When he put on a good performance at the congressional hearings, it suggested we could be headed for a conclusion where Kendall finally became his father’s favorite—something he wants so desperately that it drips from Jeremy Strong’s performance almost as much as sweat so often seems to.\u003c/p>\n\u003cp>But no. No, Logan decided it was time for a “blood sacrifice,” as he put it—someone who could be thrown to the wolves and blamed for the devastating revelations about Waystar Royco’s cruise division. Someone who would satisfy the shareholders that the problem was being taken seriously; someone who would give those shareholders, as one told Logan on the phone, “cover.” So Logan gathered the family and the top lieutenants—Kendall, Shiv and Tom, Roman (Kieran Culkin), even Greg—on the Roy yacht and watched each one try to respectfully, gently argue that the person sacrificed should emphatically not be them, no offense to whomever they suggested it \u003cem>should \u003c/em>be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The obvious answer was Tom (Matthew Macfadyen), Shiv’s husband. He had been in charge of cruises; he had a logical connection to the crimes committed, even if they predated his leadership. After all, one of the things someone needed to take responsibility for was the cover-up, and Tom carried out key elements of the cover-up. He wouldn’t even have been just a figurehead. Tom had the advantage of being both largely expendable to the family and \u003cem>actually guilty\u003c/em>, not that they would care. Particularly if they threw in poor dopey cousin Greg, Tom’s assistant, they thought maybe that would be enough.\u003c/p>\n\u003cp>Sarah Snook brought out Shiv’s shocking shrug-it-off energy in the scene—let’s just call it the Roy Family Murder Breakfast—in which she seemed to agree with the group that the blood sacrifice should be Tom. Her husband! Her own husband! Sure, why not? Tom was kinda \u003cem>like \u003c/em>family, she explained, without actually being family. Which you can translate as “he’s close enough for the shareholders to think it really means something for us to hand him over to be sacrificed, when in fact, \u003cem>eh\u003c/em>.”\u003c/p>\n\u003cp>But it was not to be Tom, because once he and Shiv were in private and he made clear how devastated he was by her betrayal—and once that opened other wounds in their marriage to the point where he questioned its status as a going concern—Shiv shifted gears. She went to her father and said it could not be Tom. By then, it appeared that it was likely to be either Tom or Kendall who would suffer, and Shiv took the coward’s way out: She chose while refusing to choose, saying she couldn’t make the decision … but it couldn’t be Tom. (The degree to which Shiv truly loves Tom has always been an intriguing element of their marriage. Her saving him is a data point, but so was her initially being prepared not to.)\u003c/p>\n\u003cp>And so Logan chose Kendall to be sacrificed, breaking the news gently—or what passes for gently in a man whose idea of bedside manner would be leaving you one-third of your ice chips while you’re in the hospital and he’s at your bedside feeling thirsty. Kendall would have to make a statement that he had known about the misconduct in the cruise division, he had engineered the cover-up, he had done it all, and in Logan’s words, it had gone “no higher.” Kendall would sacrifice himself to save his father, and ultimately to save the company.\u003c/p>\n\u003cp>So when did Kendall decide … not to? When did Kendall decide that instead of falling on his sword, he would stroll into that press conference, whip out a set of note cards and call his father “a malignant presence, a bully and a liar”? When did he decide that even knowing his father could ruin him with the story of the waiter who died after Kendall drove off a bridge, it was over? When did he decide that instead of reciting “I saw their plan; my dad’s plan was better” over and over as he did in the first episode of this season, and instead of saying “my dad told me to” the way he did when he destroyed Vaulter, he would not only sacrifice his father as the mover behind the cruises debacle but reveal his father’s deceitful, vicious personality?\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/l9TKHvvaMfE'\n title='//www.youtube.com/embed/l9TKHvvaMfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My money is on the moment in which, referring to the death of the waiter, Logan repeated an abbreviation that came out of the cruise division, used when a migrant worker or a sex worker died on a ship: NRPI. \u003cem>No Real Person Involved\u003c/em>. It is shorthand, really, for the idea that only some people matter.\u003c/p>\n\u003cp>Logan believes in NRPI. Roman believes in it. Shiv just NRPI’d \u003cem>her own husband\u003c/em> until he specifically asked her not to. But Kendall is, perhaps ironically given the protection he accepted from his father, not an NRPI kind of person. He agonized over that accident. He hated himself for shutting down Vaulter—an act he proved he could carry out in an NRPI-style manner, provided he didn’t pay too much attention to feeling his skin go gray and clammy.\u003c/p>\n\u003cp>Kendall had already been reminded during the trip that his father doesn’t care about his feelings: Logan had forced Kendall to send his girlfriend away in the middle of the trip, a fresh humiliation that increased Kendall’s isolation. Things built up. Logan’s callous conducting of the Family Murder Breakfast and his announcement that he needed a “skull to wave” showed Kendall how ready his father was to throw away his kids, not to mention faithful lieutenants like Gerri (J. Smith-Cameron), Karl (David Rasche) and Frank (Peter Friedman).\u003c/p>\n\u003cp>When Logan told Kendall that his was the skull that would be waved, a resigned Kendall asked him a question. Had Logan ever believed that Kendall could do the top job? After the profound cruelty of acting like he’d never really thought about it, Logan came around to an answer: “You’re not a killer,” he said. “You have to be a killer.” Jeremy Strong’s performance in this critical scene with Cox looks very different on second viewing. What originally played as agonized resignation to his situation and an understanding that he’d have to be the skull, as it were, looks now like agonized resignation to the fact that he will never have his father’s love and approval this way. He’ll never get there by trying to be good and loyal and perfect; that’s what he was doing all season, and he’s still the skull. This family only respects killers. Not the kind who accidentally cause the deaths of waiters, either. Only the kind who kill with ice-cold calculation.\u003c/p>\n\u003cp>So that’s what Kendall did.\u003c/p>\n\u003cp>Because Kendall, after learning the bad news, wound up on a plane back home with Greg (Nicholas Braun). This was extraordinarily bad luck for Logan, who had no way of knowing Greg had first saved some of the troublesome records Tom told him to get rid of. He had no way of knowing that when Tom found out and insisted on burning what was left, Greg \u003cem>once again \u003c/em>reserved a few in case he ever needed them. Greg spent this entire season being Chekhov’s knucklehead, and ultimately, like all the things metaphorically rendered unto Chekhov, he mattered a great deal.\u003c/p>\n\u003cp>In order to preserve the suspense of the ending, in order to create the gasp when Kendall goes to the press conference and says “BUT” between what sounds like it will be an admission of guilt and what becomes a blast of accusations against his father, we didn’t see what happened on the plane home. We saw Greg gently tell Kendall he felt bad that Kendall had to be the blood sacrifice. And we’ve seen a friendship growing between Greg and Kendall, the only family member who’s ever shown the kid any kindness.\u003c/p>\n\u003cp>Presumably, at some point during that flight, they talked. Greg revealed that he was holding on to the evidence Kendall needed to make accusations against Logan stick. Or Kendall opened up about being unable to get his father’s love. Or both. The key to Kendall’s ability to finally carry out the fully public attack on his father that’s been brewing since season one episode one, the key to Kendall’s escape from his father’s “protection” that’s been brewing since season two episode one? It turned out to be Greg. Greg, who saved his secret papers in a folder labeled “SECRET.”\u003c/p>\n\u003cp>This was a season that was enjoyable to watch as it proceeded but that looks far more impressive in light of the finale. It looked at times like they had flattened Kendall’s affect too much; perhaps he was too much changed by the accident after Shiv’s wedding, too devastated and defanged to maintain the powerful dynamic between himself and his father that drove the first season. The character of Rhea Jarrell never entirely jelled, despite the reliable presence of Holly Hunter. The strange sexual connection between Roman and Gerri was picked up and put down a little abruptly, although the notion that they share \u003cem>some \u003c/em>sort of bond flared during the Family Murder Breakfast when Roman rose to her defense. Shiv’s waffling about whether she was really prepared to do battle with her father—spoiler alert: She was not—makes more sense as a prelude to her weakness in the finale. It is Shiv, perhaps, who is not a killer.\u003c/p>\n\u003cp>And now, Kendall’s dead eyes all season make narrative sense. The story was going \u003cem>here\u003c/em>, to this place where the torment and the misery accumulated, to where Kendall was willing to blow up his family because it was better than all the other choices. Even the embarrassing tribute rap at Logan’s party is now, in context, just one of the last gasps of his desperate attempt to earn his father’s approval. Now, that rap is just more evidence that Kendall may have looked cold in the old peepers, but in fact he was doing \u003cem>everything \u003c/em>he could think of. He played a relatively non-flashy role in the now-infamous “Boar on the Floor” sequence in the episode “Hunting,” precisely because he was keeping out of as much of the drama as he could. In fact, his role in “Hunting” and at several other points during the season was to do his father’s dirty work without complaint—to inform, to obey, to expose. He was the good son.\u003c/p>\n\u003cp>The last bit of business to deal with is Logan’s tiny hint of a smile as he watches his son accuse him of being a monster. Is he a little impressed that Kendall is more of a killer than he thought? Does he enjoy a fight? Did he somehow \u003cem>intend \u003c/em>for this to happen, so that he himself would wind up being the skull and the company would live on? (That last theory was raised with me by a reader on Twitter, and I must say: I hadn’t thought of it, but I don’t think Logan would gamble that hard with his company.)\u003c/p>\n\u003cp>My vote is for some combination of all of it. Logan doesn’t mind a fight, and he hates weakness even more than aggressive attack. Some part of him only respects people who come for him. That’s not to say he won’t attempt to crush them like bugs as I can only assume he will do with Kendall.\u003c/p>\n\u003cp>There are so many lessons to take away from this episode: It is futile to seek an immoral person’s approval if you’re not prepared to be immoral yourself. Even if your husband is a goober, you’re going to feel bad if you offer to let your father destroy him. When you burn a clutch of secret papers, make sure you see them all go. Don’t alienate the tall oddball; you never know what secrets he may be hiding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And finally: If someone writes you a rap, at least try to look grateful.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roy%2C+Oh+Roy%3A+That+%27Succession%27+Finale+Was+A+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A New 'Sesame Street' Storyline Aims to Help Children Caught in the Opioid Crisis",
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"content": "\u003cp>Earlier this year, \u003cem>Sesame Street\u003c/em> introduced Karli, a green muppet living with “for now” parents because her mom was “having a hard time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T2e7e2Hpb7I\u003c/p>\n\u003cp>Five months later, Karli is out of foster care, and in an episode this week, we learned that her mother is now in Narcotics Anonymous. \u003ca href=\"https://www.youtube.com/watch?v=5pfuEqGhREA\" target=\"_blank\" rel=\"noopener\">Karli has to explain to Elmo\u003c/a> why her parent needs to go to meetings. “Mom needs help learning to take better care of herself,” she tells Elmo. “So she talks to people with the same problem.”\u003c/p>\n\u003cp>In another segment, Elmo’s dad tells him: “Karli’s mommy has a disease called addiction. Addiction makes people feel like they need a grown up drink called alcohol or another kind of drug to feel okay. That can make a person act strange in ways they can’t control.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=6&v=inoeW5BZJvg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xRogpFFytU8\u003c/p>\n\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKCdV20zLMs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With an estimated \u003ca href=\"https://www.cdc.gov/injury/features/prescription-drug-overdose/index.html\" target=\"_blank\" rel=\"noopener\">1.7 million people\u003c/a> struggling with opioid addiction in the United States and 130 Americans, on average, dying from overdoses every day, Karli’s storyline is incredibly timely and could have an enormous impact on the \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">5.7 million children\u003c/a> living with parents with substance abuse problems.\u003c/p>\n\u003cp>Karli’s backstory continues \u003cem>Sesame Street\u003c/em>‘s long tradition of tackling tough subjects in ways kids can understand. In 2015, the show addressed family grief when Elmo’s \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">Uncle Jack died\u003c/a>. Last year, the show introduced a new character named Lily, whose family was homeless. One scene focused on providing a reassuring activity for Lily any time she was “worried or scared about home.”\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/xRogpFFytU8'\n title='//www.youtube.com/embed/xRogpFFytU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, \u003cem>Sesame Street \u003c/em>included \u003ca href=\"https://www.youtube.com/watch?v=a2VpflpbOmk\" target=\"_blank\" rel=\"noopener\">gay dads\u003c/a> in a segment about Father’s Day. That same year, viewers were introduced to Julia, a child with autism who moves and communicates differently from Elmo and Abby, and has trouble coping with loud noises. Julia’s arrival made it clear that autistic kids are just as worthy of friendship as any other child, and gave viewers an understanding of how to accept differences. “She’s not like any friend I’ve ever had before,” said Big Bird. “Yeah,” Elmo replied. “But none of us are exactly the same.”\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/dKCdV20zLMs'\n title='//www.youtube.com/embed/dKCdV20zLMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Sesame Workshop’s president of global impact and philanthropy, \u003ca href=\"https://www.fox9.com/news/were-not-alone-sesame-street-tackles-addiction-crisis\" target=\"_blank\" rel=\"noopener\">Sherrie Westin says\u003c/a>: “For everything we’ve done—from military families to homelessness—it’s all about how to make children free to talk and to give parents the tools to do just that. They tend to avoid it and it’s what they need more than anything.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Fall TV Preview: 19 Shows to Watch Out For",
"headTitle": "NPR’s Fall TV Preview: 19 Shows to Watch Out For | KQED",
"content": "\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSV42j8lccg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w37TQZwnjXY\u003c/p>\n\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uWCNHQgfnc\u003c/p>\n\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5fZ_S_wlx0Q\u003c/p>\n\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9wcEiFIM3mM\u003c/p>\n\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tv0C2yWFcWM\u003c/p>\n\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aAD2deAqxCE\u003c/p>\n\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6oy1USJR348\u003c/p>\n\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YV7ezBolDug\u003c/p>\n\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-kdBlzCG7w\u003c/p>\n\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FV5BNaUZyqA\u003c/p>\n\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zymgtV99Rko\u003c/p>\n\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrIiPcv4_iY\u003c/p>\n\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wqrIhZVYSE\u003c/p>\n\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qgfNOKoykL4\u003c/p>\n\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ROkHJnBOSIs\u003c/p>\n\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\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/zSV42j8lccg'\n title='//www.youtube.com/embed/zSV42j8lccg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\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/w37TQZwnjXY'\n title='//www.youtube.com/embed/w37TQZwnjXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\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/6uWCNHQgfnc'\n title='//www.youtube.com/embed/6uWCNHQgfnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\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/5fZ_S_wlx0Q'\n title='//www.youtube.com/embed/5fZ_S_wlx0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\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/9wcEiFIM3mM'\n title='//www.youtube.com/embed/9wcEiFIM3mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\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/Tv0C2yWFcWM'\n title='//www.youtube.com/embed/Tv0C2yWFcWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\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/aAD2deAqxCE'\n title='//www.youtube.com/embed/aAD2deAqxCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\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/6oy1USJR348'\n title='//www.youtube.com/embed/6oy1USJR348'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\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/YV7ezBolDug'\n title='//www.youtube.com/embed/YV7ezBolDug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\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/6-kdBlzCG7w'\n title='//www.youtube.com/embed/6-kdBlzCG7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\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/FV5BNaUZyqA'\n title='//www.youtube.com/embed/FV5BNaUZyqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\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/zymgtV99Rko'\n title='//www.youtube.com/embed/zymgtV99Rko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\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/vrIiPcv4_iY'\n title='//www.youtube.com/embed/vrIiPcv4_iY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\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/2wqrIhZVYSE'\n title='//www.youtube.com/embed/2wqrIhZVYSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\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/qgfNOKoykL4'\n title='//www.youtube.com/embed/qgfNOKoykL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\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/ROkHJnBOSIs'\n title='//www.youtube.com/embed/ROkHJnBOSIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Righteous Gemstones' Takes Aim at Megachurch Millionaires",
"headTitle": "‘The Righteous Gemstones’ Takes Aim at Megachurch Millionaires | KQED",
"content": "\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqJRIQO7sqw\u003c/p>\n\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. From a thematic perspective, this show could have been written about televangelists in the 1980s, for instance. It’s focused on the weirdos in this family, not what the faith that happens to be their grift of choice has to do with anybody else.\u003c/p>\n\u003cp>With that tight focus on these characters comes a need to differentiate them from similar characters we’ve seen before. That’s the show’s most significant flaw. In comedy terms, it’s fine for everyone to be unsympathetic, but it’s more of a problem that they’re unsympathetic in such expected ways. John Goodman is an actor who can do a lot with a little, but this performance seems like a routine version of what you’d expect “greedy televangelist” to look like. Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Righteous+Gemstones%27+Takes+Aim+At+Megachurch+Millionaires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In the HBO comedy created by and starring Danny McBride, a powerful preacher and his adult children are very poor examples to their flock.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are comedy creators whose sensibilities are darker than Danny McBride’s. There are some whose satire is sharper, some whose characterizations are weaker, some whose sense of the moment is more or less developed. But there is no one more convinced than Danny McBride of the raw, unstoppable comedic power of male nudity—both frontal and rear.\u003c/p>\n\u003cp>McBride is the creator of the new HBO comedy \u003cem>The Righteous Gemstones\u003c/em>. He has a track record at the network, for which he also made \u003cem>Eastbound & Down\u003c/em> and \u003cem>Vice Principals\u003c/em>. McBride’s fondness for sniffing out the comedy in terrible people continues in \u003cem>Gemstones\u003c/em>, which follows the greedy and fraudulent family headed by megachurch pastor Eli Gemstone (John Goodman). Eli’s sons Jesse (McBride) and Kelvin (Adam Devine) and his daughter Judy (Edi Patterson) help run the empire along with Jesse’s wife Amber (Cassidy Freeman).\u003c/p>\n\u003cp>It doesn’t seem like the kind of show where you’d see a lot of naked dudes, but McBride finds a way.\u003c/p>\n\u003cp>This is relevant less because this fixation is either good or bad, and more because it’s a reasonably good shorthand for McBride’s style: He brings the expected satire about the excesses of extremely rich pastors and the foibles of families full of weirdos, but also a gleeful juvenile guffawing that can seem freeing in moderation and a bit like a crutch in excess.\u003c/p>\n\u003cp>There are two basic plot threads in \u003cem>Gemstones. \u003c/em>One is Jesse’s frantic effort to contain a possible scandal. It unfolds like one of the films you might label \u003cem>Hapless Dirtbags Do the Craziest Things\u003c/em>—films that McBride has done with Seth Rogen and other members of the Judd Apatow cinematic universe; films like \u003cem>This Is the End \u003c/em>and \u003cem>Pineapple Express\u003c/em>. The other is Eli’s territorial skirmish with local pastors near the new franchise he wants to open, who fear they’ll be overrun like a small grocery store confronted with a new Walmart. Eli’s clash with these men, led by Pastor Seasons (Dermot Mulroney), is staged like a standoff between crime families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KqJRIQO7sqw'\n title='//www.youtube.com/embed/KqJRIQO7sqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s entirely fair to wonder whether the purpose of this show is to make fun of religious people as such, particularly given that most kinds of television have not excelled at incorporating faith into the lives of characters. But \u003cem>Gemstones \u003c/em>almost never touches or satirizes the flock. The ordinary people who attend these churches, the people who believe in Eli, are not targets, despite the fact that they are being exploited by him and his family. We stay mostly backstage, mostly away from the congregation, mostly enmeshed in a fairly pure sendup of a particular—and, it must be said, familiar—type of fancy, flashy, TV-friendly preacher.\u003c/p>\n\u003cp>At the same time, the fact that the flock isn’t really part of the conversation means that what’s being taught in the church isn’t really part of the conversation either. There’s no mention of what Eli is teaching his followers, or how those lessons affect them, or what alliances he has with anyone outside the church. If you’re looking for a satire that places large, rich churches in the context of current politics or current social problems, this is not it. From a thematic perspective, this show could have been written about televangelists in the 1980s, for instance. It’s focused on the weirdos in this family, not what the faith that happens to be their grift of choice has to do with anybody else.\u003c/p>\n\u003cp>With that tight focus on these characters comes a need to differentiate them from similar characters we’ve seen before. That’s the show’s most significant flaw. In comedy terms, it’s fine for everyone to be unsympathetic, but it’s more of a problem that they’re unsympathetic in such expected ways. John Goodman is an actor who can do a lot with a little, but this performance seems like a routine version of what you’d expect “greedy televangelist” to look like. Even the introduction of the reliable Walton Goggins can’t enliven the proceedings very much, because once you see his wig and his makeup and you hear his accent, the character from there is largely the broad caricature of a flashy buffoon that you’d expect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Righteous Gemstones \u003c/em>ends up feeling like a pretty standard HBO comedy, in the same way there came to be a standard CBS sitcom style and a standard ABC soapy drama style. It has its moments, and it’s likely to please those who follow McBride from show to show. But if you’re likely to take an “if you’ve seen one, you’ve seen them all” attitude toward scenes where guys take their pants off, this may not be the show for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Righteous+Gemstones%27+Takes+Aim+At+Megachurch+Millionaires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>\u003cb>Updated Friday, July 29\u003c/b>\u003c/i> \u003c/p>\n\u003cp>\u003ci>Sesame Street,\u003c/i> the 46-year-old award-winning children’s show, cut three of its most senior cast members earlier this year, according to one of the actors that was released.\u003c/p>\n\u003cp>At a Q&A event at the \u003ca href=\"http://floridasupercon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Supercon\u003c/a> on July 2, Bob McGrath, a.k.a. “Bob,” informed the audience that he, Emilio Delgado (who played “Luis”) and Roscoe Orman (“Gordon”) were all released from the show as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">its re-tooling for HBO\u003c/a>. \u003c/p>\n\u003cp>[contextly_sidebar id=”7F6jW89pLQuFWo898jgFHbNPKeEethoS”]\u003c/p>\n\u003cp>“As of this season, I have completed my 45th season this year. And the show has gone under a major turnaround, going from an hour to a half hour. HBO has gotten involved also. And they let all of the original cast members go, with the exception of Alan Muraoka — who is probably 20 years younger than the rest of us — and Chris Knowings, who is also young,” McGrath said. (His statement \u003ca href=\"http://muppetcast.com/show-287/\" target=\"_blank\" rel=\"noopener noreferrer\">can be heard on the Muppet-centric podcast \u003ci>The MuppetCast.\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to McGrath, the show will keep Loretta Long, who has played Susan, Gordon’s wife, since the beginning of the show.\u003c/p>\n\u003cp>\u003ca href=\"http://muppet.wikia.com/wiki/Bob_McGrath\" target=\"_blank\" rel=\"noopener noreferrer\">McGrath,\u003c/a> 84, had been with the \u003ci>Sesame Street\u003c/i> cast since the show’s inception in 1969 — one of only two of the original cast members still with the show until this year. Formerly\u003ca href=\"http://www.bobmcgrath.com/bob/\" target=\"_blank\" rel=\"noopener noreferrer\"> a successful singer in Japan\u003c/a>, McGrath sang on many of the show’s early hit songs, such as “People in Your Neighborhood”: \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V2bbnlZwlGQ\u003c/p>\n\u003cp>Delgado, 76, joined the show in 1971, debuting as Luis the handyman at the same time as Raul Julia’s character Rafael. (Julia would go on to be a \u003ca href=\"http://www.imdb.com/name/nm0000471/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">movie star\u003c/a> before dying in 1994.) Later, Luis married Maria, played by Sonia Manzano, and the two would be instrumental in introducing Hispanic culture to \u003ci>Sesame Street\u003c/i> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>Though he wasn’t the original Gordon, Orman had played the character since 1974. Gordon was the patriarch of the Robinsons, an African-American family that had been on \u003ci>Sesame Street\u003c/i> since the beginning. Orman also played “Trash Gordon,” a superhero made up for stories told to Oscar the Grouch. \u003c/p>\n\u003cp>In his memoir \u003ci>Sesame Street Dad: Evolution of an Actor\u003c/i>, Orman wrote:\u003c/p>\n\u003cblockquote>\u003cp>“If I could boast of no other major career accomplishment, having played a central role as I have in the development and continuation of this landmark series would alone have made my life sufficiently meaningful. The historical significance of Sesame Street and its surprising longevity have made my association with the show, in many regards, my life’s crowning achievement.”\u003c/p>\u003c/blockquote>\n\u003cp>McGrath said the cast changes were made as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">a major overhaul\u003c/a> the show has undergone since its producers made a deal with HBO last year. In addition to cutting the show from an hour to a half-hour, McGrath remarked, HBO will premiere the newest episodes on HBO for nine months before they’re made available elsewhere, and change the focus to topics such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Elizabeth Fishman, a representative from Sesame Workshop, provided KQED with the following this statement:\u003c/p>\n\u003cblockquote>\u003cp> Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of Sesame Street. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>UPDATE:\u003c/b> Sesame Workshop has reached out to McGrath, Orman and Delgado to see about bringing back to the cast. Read more here: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/29/sesame-street-looking-to-bring-back-senior-cast-members-after-uproar/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Sesame Street’ Looking to Bring Back Senior Cast Members After Uproar\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read more: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/28/five-times-bob-luis-and-gordon-taught-us-to-be-better-on-sesame-street/\" target=\"_blank\" rel=\"noopener noreferrer\">Five Times Bob, Luis and Gordon from ‘Sesame Street’ Taught Us to Be Better\u003c/a>\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Updated Friday, July 29\u003c/b>\u003c/i> \u003c/p>\n\u003cp>\u003ci>Sesame Street,\u003c/i> the 46-year-old award-winning children’s show, cut three of its most senior cast members earlier this year, according to one of the actors that was released.\u003c/p>\n\u003cp>At a Q&A event at the \u003ca href=\"http://floridasupercon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Supercon\u003c/a> on July 2, Bob McGrath, a.k.a. “Bob,” informed the audience that he, Emilio Delgado (who played “Luis”) and Roscoe Orman (“Gordon”) were all released from the show as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">its re-tooling for HBO\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“As of this season, I have completed my 45th season this year. And the show has gone under a major turnaround, going from an hour to a half hour. HBO has gotten involved also. And they let all of the original cast members go, with the exception of Alan Muraoka — who is probably 20 years younger than the rest of us — and Chris Knowings, who is also young,” McGrath said. (His statement \u003ca href=\"http://muppetcast.com/show-287/\" target=\"_blank\" rel=\"noopener noreferrer\">can be heard on the Muppet-centric podcast \u003ci>The MuppetCast.\u003c/i>\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to McGrath, the show will keep Loretta Long, who has played Susan, Gordon’s wife, since the beginning of the show.\u003c/p>\n\u003cp>\u003ca href=\"http://muppet.wikia.com/wiki/Bob_McGrath\" target=\"_blank\" rel=\"noopener noreferrer\">McGrath,\u003c/a> 84, had been with the \u003ci>Sesame Street\u003c/i> cast since the show’s inception in 1969 — one of only two of the original cast members still with the show until this year. Formerly\u003ca href=\"http://www.bobmcgrath.com/bob/\" target=\"_blank\" rel=\"noopener noreferrer\"> a successful singer in Japan\u003c/a>, McGrath sang on many of the show’s early hit songs, such as “People in Your Neighborhood”: \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/V2bbnlZwlGQ'\n title='//www.youtube.com/embed/V2bbnlZwlGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Delgado, 76, joined the show in 1971, debuting as Luis the handyman at the same time as Raul Julia’s character Rafael. (Julia would go on to be a \u003ca href=\"http://www.imdb.com/name/nm0000471/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">movie star\u003c/a> before dying in 1994.) Later, Luis married Maria, played by Sonia Manzano, and the two would be instrumental in introducing Hispanic culture to \u003ci>Sesame Street\u003c/i> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>Though he wasn’t the original Gordon, Orman had played the character since 1974. Gordon was the patriarch of the Robinsons, an African-American family that had been on \u003ci>Sesame Street\u003c/i> since the beginning. Orman also played “Trash Gordon,” a superhero made up for stories told to Oscar the Grouch. \u003c/p>\n\u003cp>In his memoir \u003ci>Sesame Street Dad: Evolution of an Actor\u003c/i>, Orman wrote:\u003c/p>\n\u003cblockquote>\u003cp>“If I could boast of no other major career accomplishment, having played a central role as I have in the development and continuation of this landmark series would alone have made my life sufficiently meaningful. The historical significance of Sesame Street and its surprising longevity have made my association with the show, in many regards, my life’s crowning achievement.”\u003c/p>\u003c/blockquote>\n\u003cp>McGrath said the cast changes were made as part of \u003ca href=\"http://www.pressherald.com/2016/01/12/for-hbo-sesame-street-retooled-to-attract-tech-saturated-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">a major overhaul\u003c/a> the show has undergone since its producers made a deal with HBO last year. In addition to cutting the show from an hour to a half-hour, McGrath remarked, HBO will premiere the newest episodes on HBO for nine months before they’re made available elsewhere, and change the focus to topics such as “self-regulation” and “executive function.”\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Elizabeth Fishman, a representative from Sesame Workshop, provided KQED with the following this statement:\u003c/p>\n\u003cblockquote>\u003cp> Bob McGrath, Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) remain a beloved part of the Sesame family and continue to represent us at public events. To us, and for millions of people worldwide, they are a treasured part of Sesame Street. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions. As we’ve stated previously, Sesame Workshop retains sole creative control over the show. HBO does not oversee the production.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>UPDATE:\u003c/b> Sesame Workshop has reached out to McGrath, Orman and Delgado to see about bringing back to the cast. Read more here: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/29/sesame-street-looking-to-bring-back-senior-cast-members-after-uproar/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Sesame Street’ Looking to Bring Back Senior Cast Members After Uproar\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read more: \u003ca href=\"http://ww2.kqed.org/arts/2016/07/28/five-times-bob-luis-and-gordon-taught-us-to-be-better-on-sesame-street/\" target=\"_blank\" rel=\"noopener noreferrer\">Five Times Bob, Luis and Gordon from ‘Sesame Street’ Taught Us to Be Better\u003c/a>\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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