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"content": "\u003cp>Jim LeBrecht was a life-of-the-party 15-year-old with spina bifida when he got off the bus at Camp Jened. The three-hour ride from his New York City home to the Catskills camp, then in its 20th year of catering specifically to children with disabilities, was fun and strange and, in ways he couldn’t imagine, the first step on a journey that coincided with a societal transformation.\u003c/p>\n\u003cp>LeBrecht’s winning personality and self-aware perspective enroll us immediately in \u003cem>Crip Camp\u003c/em>, the disarming, infuriating and essential documentary co-directed by the longtime East Bay sound designer and local ace Nicole Newnham (\u003cem>The Rape of Europa\u003c/em>). It’s the film we didn’t know we needed, filling a great gap in the history of the civil rights movement that I, at least, didn’t realize existed.\u003c/p>\n\u003cfigure id=\"attachment_13877412\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13877412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/200123_SM_NETFLIX_SUNDANCE_2020_CRIP_CAMP_0072_R_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Directors Nicole Newnham and Jim LeBrecht. \u003ccite>(Sacha Maric)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Crip Camp\u003c/em> opened the Sundance Film Festival in January, reconnecting the festival with its politically conscious roots, and premieres Wednesday, March 25 on Netflix. A celebratory community screening was planned for SFFILM in April, until the coronavirus forced the festival’s cancellation. You can still cheer and yell at the screen, albeit from the “comfort” of your own home. (You can also yell at the federal government, though you may want to open your window à la a certain \u003ca href=\"https://youtu.be/AS4aiA17YsM\" rel=\"noopener noreferrer\" target=\"_blank\">Howard Beale\u003c/a>.)\u003c/p>\n\u003cp>LeBrecht’s recounting of his various awakenings at hippie-happy Camp Jened in the summer of ’71—romantic and sexual, included—establishes \u003cem>Crip Camp\u003c/em> at the outset as a coming-of-age story, with all the joy, awkwardness, gratifying nostalgia and life lessons one anticipates. It’s a smart strategy in a couple of ways: Through one man’s eyes, we view that period and, more importantly, what it was like to live and to be perceived as “disabled.” We’re in the room, not peering through a window, with people who are alive and irreverent and sensitive and horny and, well, people. \u003c/p>\n\u003cp>Another benefit of this approach is it allows \u003cem>Crip Camp\u003c/em> to avoid earnestness, and the deadly air of a “message film.” Serious subjects are discussed—dependence and independence, the lack of privacy—but they are framed as personal issues, even if every camper deals with them on a daily basis back home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Crip Camp\u003c/em> works wonderfully as a consciousness-raising saga for the first 20 minutes or so, but summer camp (like all good things) has to end. Jimmy LeBrecht returns to high school, goes to the Left Coast (well, San Diego) for college, discovers the Bay Area’s weirdness—a Camp Jened alumnus performs on the Mabuhay Gardens stage in an arresting piece of archival footage—and innovation (Berkeley’s Center for Independent Living gets a shout-out and more), and takes a job after graduation as Berkeley Rep’s resident sound designer.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13877414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at a rally. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeBrecht joined Disability in Action in the early ’70s and became an outspoken activist in college. But he humbly and wisely relinquishes the \u003cem>Crip Camp\u003c/em> spotlight to disability advocates like Judy Heumann, a Camp Jened alum who spearheaded the occupation of HEW’s San Francisco office in 1977. Originally a simple protest aimed at pressuring newly appointed and exasperatingly lackadaisical Health, Education and Welfare Secretary Joseph Califano to sign regulations expanding the rights of people with disabilities, it evolved into a major action that lasted more than three weeks. \u003c/p>\n\u003cp>The prime purpose of documentaries, for most people, is education. By that measure, \u003cem>Crip Camp\u003c/em> scores early and often. How had I never heard of the HEW demonstration? Is there a plaque commemorating this milestone in Bay Area activism, or any other acknowledgement?\u003c/p>\n\u003cp>I was baffled by my ignorance of this event, and outraged at the indifference of federal officials to peaceful, reasonable demands. It’s possible that my fury was exacerbated by the current administration’s stonewalling on the coronavirus crisis, which is to say that a good historical documentary is never (just) about the past.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Crip Camp\u003c/em> starts out as a summer frolic with an edge, but it expands into something far, far greater. It’s a major work that continues the long tradition of timeless Bay Area social-issue documentaries, and deserves a place on the shelf alongside, to cite just a few, \u003cem>The Times of Harvey Milk\u003c/em>, \u003cem>Freedom on My Mind\u003c/em>, \u003cem>The Weather Underground\u003c/em> and \u003cem>Brother Outsider: The Life of Bayard Rustin\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40RsbcFRwNA\u003c/p>\n\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\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/40RsbcFRwNA'\n title='//www.youtube.com/embed/40RsbcFRwNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year's Golden Globe Nominations are Even More Ridiculous Than Usual",
"headTitle": "This Year’s Golden Globe Nominations are Even More Ridiculous Than Usual | KQED",
"content": "\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BHi-a1n8t7M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xi-1NchUqMA\u003c/p>\n\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iOpl44ewgYk\u003c/p>\n\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\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/BHi-a1n8t7M'\n title='//www.youtube.com/embed/BHi-a1n8t7M'\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>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\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/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\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/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\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/xi-1NchUqMA'\n title='//www.youtube.com/embed/xi-1NchUqMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\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/iOpl44ewgYk'\n title='//www.youtube.com/embed/iOpl44ewgYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Sorrow is Not the Same as Pessimism': Comedian Jenny Slate",
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"headTitle": "‘Sorrow is Not the Same as Pessimism’: Comedian Jenny Slate | KQED",
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"content": "\u003cp>For comedian and actor Jenny Slate, the path to finding her own voice went through crushing failure (professional) and heartbreak (divorce).\u003c/p>\n\u003cp>She began her career in stand-up, was drafted to \u003cem>Saturday Night Live\u003c/em>—and was fired. The path that followed was uncharted.\u003c/p>\n\u003cp>She starred in \u003ca href=\"https://www.npr.org/2014/06/08/319463693/obvious-child-tells-an-abortion-story-with-rom-com-heart\">an indie comedy about abortion\u003c/a> (\u003cem>Obvious Child\u003c/em>), voiced a viral stop-motion animated character who is a gender non-conforming sea artifact (\u003cem>Marcel the Shell with Shoes On\u003c/em>), and went onto a fair bit of voice acting (\u003cem>Zootopia\u003c/em>, \u003cem>The Secret Life of Pets\u003c/em>, \u003cem>Big Mouth\u003c/em>). And she wrote. This fall, Slate has released her first TV comedy special for Netflix (\u003cem>Stage Fright\u003c/em>) and a book of essays (\u003cem>Little Weirds\u003c/em>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p02P8HRtPFc\u003c/p>\n\u003cp>Jenny Slate grew up around books, studied literature at Columbia University and her father is a poet. (“I read a lot of books before I decided to write one,” she says.) \u003cem>Little Weirds \u003c/em>is not a memoir or biography, but more like a series of observational stories, essays, and ruminations on the struggles of adulthood. In one of them, she compares herself to a croissant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I actually have always been an avid reader, but I guess I just felt like: Well, I’m an actress and I’m a comedian, so … I’m not a writer, or something,” Slate says. “I think I limited myself a bit.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/series/753757133/shes-funny\">She’s Funny\u003c/a>, the \u003cem>All Things Considered\u003c/em> series on women who have broken the rules in comedy, Slate and I sat down together on stage at Lisner Auditorium in Washington D.C.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Gilda Radner, her first role model in comedy\u003c/strong>\u003c/p>\n\u003cp>[I] couldn’t pay attention in school. I think that I felt for a while like I wasn’t smart because I couldn’t listen traditionally and people were mad at me for it. And my dad brought in these tapes of \u003ca href=\"https://www.npr.org/2018/09/20/647886381/love-gilda-a-comedy-legend-in-her-own-words\">Gilda Radner\u003c/a>, and it was sort of like, “No no no, you’re just—you’re like this.” Which is, first of all, a great honor. … It was a huge honor, and then it was just like: How can I get there?” …\u003c/p>\n\u003cp>There’s a sketch that Gilda does where—I think it’s called “The Judy Miller Show”—she’s a little Girl Scout, she’s a Brownie, and she’s jumping up and down on her bed in her room, and just playing. She’s playing. That’s what this whole sketch is. And she freaks out—this woman, alone, they gave her the whole stage—she just freaks out for, like, seven minutes. And she’s exhausted, and she’s out of breath, and it’s like a silly, silly, sloppy ballet. And I remember seeing that thinking like, “Oh, I don’t want to be a ballerina. I want to be a funny thing like this.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezWNh64s38o&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>On the atmosphere at \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I didn’t like that there was a culture of fear and intimidation. Whether or not you’re going to be directly sexist and give all the parts to the men or whatever, or whether there’s going to be what I actually think is a much more confusing culture of misogyny that encourages fear and shame. That’s what was going on there. That’s a culture that is encouraged by the people that run the show. … I think that feeling dressed-down, feeling shamed, feeling like you shouldn’t have tried: those are all pressures that are encouraged in a misogynist environment, where there’s not an openness, there’s not a sense that power can present in a way that represents plurality—that there are many, many different ways to access power, and different people can hold it.\u003c/p>\n\u003cp>\u003cstrong>On being fired from \u003c/strong>\u003cstrong>\u003cem>SNL\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, I just felt really, really embarrassed and terrible. … Hardly anyone gets kicked out of a cult, because I guess they want you to stay. Like, they’re never like, “You’re bad—leave.” They’re like, “You’re bad, get in the bad closet. You have to make the salad dressing for everybody for three weeks!” But suddenly I just couldn’t imagine anything worse than getting fired. And then I just thought: I have to keep going. And no one can ever take away the dream.\u003c/p>\n\u003cp>And nothing will ever dim the lights of that experience, which was like: getting the job, leaving 30 Rock, calling my parents and saying “I am going to be on \u003cem>Saturday Night Live\u003c/em>“? That is what it is. It’s such a beautiful achievement. And it’s real and I did it. But it’s also the same as thinking you really met your soulmate, and going on the fourth date, and being like, “Did they just say ‘\u003cem>li-bary\u003c/em>‘”? … Get over it, it’s not a match. …\u003c/p>\n\u003cp>But what had also happened at the time, and what always happens, is that: Until I eventually croak, I will not die. I truly will not lie down. And you can be kicked out of a place; I definitely believe that. But I also believe the opportunity to find self-love and creative fulfillment is not a hallway with one door guarded by a super-old man. Actually, it’s spherical, and you just have to hold it between your legs. Just look down, find your opportunity.\u003c/p>\n\u003cp>\u003cstrong>On “Marcel the Shell with Shoes On”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VF9-sEbqDvU&feature=emb_logo\u003c/p>\n\u003cp>First of all, it allowed me to be sweet and melancholy at once—and to understand one of the things that is essential in my belief as a performer, which is that sorrow is not the same as pessimism, and that you can feel sadness and still be an optimist and not be worried that that’s being wrung out. … And also, doing Marcel, for me, was like, “No, I can still be really strong at comedy, but I don’t really want to compromise on sweetness.” Like, I just don’t think it’s for wimps. I actually think it’s for the strong.\u003c/p>\n\u003cp>\u003cstrong>On if she’s found her voice in comedy\u003c/strong>\u003c/p>\n\u003cp>Yes, I do feel like that. I do. … I really feel that something that started with “Marcel the Shell,” which was drawing close sweetness, and understanding that smallness doesn’t necessarily mean that you suffer from essential diminishment. Starting to gather things that can be held at once was really important. But then writing this book—first, I meant to write something else, and then I started to write things to soothe myself, and I started to like to read my reading to myself. And I just—you know, especially on the internet, there’s so much snark and posturing and posturing at joy and fabricated joy or people taking pictures of themselves in mid-laugh and stuff and really putting that there like, “I’m just happiness in action, there’s nothing else going on for me! I promise! No stress!” I was reacting to that a little bit, to just feeling like I want to tell the truth. And the truth about me is not that I’m really volatile and I’m unstable, but that I’m really vibrant, and the color of my sorrow is just as bright as the stripes of my delight.\u003c/p>\n\u003cfigure id=\"attachment_13870048\" class=\"wp-caption alignright\" style=\"max-width: 304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg\" alt=\"'Little Weirds' by Jenny Slate.\" width=\"304\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85-160x237.jpg 160w\" sizes=\"auto, (max-width: 304px) 100vw, 304px\">\u003cfigcaption class=\"wp-caption-text\">‘Little Weirds’ by Jenny Slate. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I started to really find words that I loved, and now they won’t go away. And I also noticed that in writing, I really enjoyed the odd pairing that occurs when you are trying to employ alliteration. And that my writing—at least to me without being juvenile—had all the tricks of a limerick, without being, like, “stupid little so-and-so fell into a shoe” or whatever … I guess there is [poetry in my writing]. I didn’t do it on purpose, but I think there is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Christina Cala, Bilal Qureshi, Joanna Pawlowska and Emily Kopp produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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 noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sorrow+Is+Not+The+Same+As+Pessimism%27%3A+Comedian+Jenny+Slate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Now that she's released her first Netflix stand-up special ('Stage Fright') and her first book ('Little Weirds'), Slate says she's finally finding her comedic voice in smallness.",
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"headline": "'Sorrow is Not the Same as Pessimism': Comedian Jenny Slate",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For comedian and actor Jenny Slate, the path to finding her own voice went through crushing failure (professional) and heartbreak (divorce).\u003c/p>\n\u003cp>She began her career in stand-up, was drafted to \u003cem>Saturday Night Live\u003c/em>—and was fired. The path that followed was uncharted.\u003c/p>\n\u003cp>She starred in \u003ca href=\"https://www.npr.org/2014/06/08/319463693/obvious-child-tells-an-abortion-story-with-rom-com-heart\">an indie comedy about abortion\u003c/a> (\u003cem>Obvious Child\u003c/em>), voiced a viral stop-motion animated character who is a gender non-conforming sea artifact (\u003cem>Marcel the Shell with Shoes On\u003c/em>), and went onto a fair bit of voice acting (\u003cem>Zootopia\u003c/em>, \u003cem>The Secret Life of Pets\u003c/em>, \u003cem>Big Mouth\u003c/em>). And she wrote. This fall, Slate has released her first TV comedy special for Netflix (\u003cem>Stage Fright\u003c/em>) and a book of essays (\u003cem>Little Weirds\u003c/em>).\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/p02P8HRtPFc'\n title='//www.youtube.com/embed/p02P8HRtPFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenny Slate grew up around books, studied literature at Columbia University and her father is a poet. (“I read a lot of books before I decided to write one,” she says.) \u003cem>Little Weirds \u003c/em>is not a memoir or biography, but more like a series of observational stories, essays, and ruminations on the struggles of adulthood. In one of them, she compares herself to a croissant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I actually have always been an avid reader, but I guess I just felt like: Well, I’m an actress and I’m a comedian, so … I’m not a writer, or something,” Slate says. “I think I limited myself a bit.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/series/753757133/shes-funny\">She’s Funny\u003c/a>, the \u003cem>All Things Considered\u003c/em> series on women who have broken the rules in comedy, Slate and I sat down together on stage at Lisner Auditorium in Washington D.C.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Gilda Radner, her first role model in comedy\u003c/strong>\u003c/p>\n\u003cp>[I] couldn’t pay attention in school. I think that I felt for a while like I wasn’t smart because I couldn’t listen traditionally and people were mad at me for it. And my dad brought in these tapes of \u003ca href=\"https://www.npr.org/2018/09/20/647886381/love-gilda-a-comedy-legend-in-her-own-words\">Gilda Radner\u003c/a>, and it was sort of like, “No no no, you’re just—you’re like this.” Which is, first of all, a great honor. … It was a huge honor, and then it was just like: How can I get there?” …\u003c/p>\n\u003cp>There’s a sketch that Gilda does where—I think it’s called “The Judy Miller Show”—she’s a little Girl Scout, she’s a Brownie, and she’s jumping up and down on her bed in her room, and just playing. She’s playing. That’s what this whole sketch is. And she freaks out—this woman, alone, they gave her the whole stage—she just freaks out for, like, seven minutes. And she’s exhausted, and she’s out of breath, and it’s like a silly, silly, sloppy ballet. And I remember seeing that thinking like, “Oh, I don’t want to be a ballerina. I want to be a funny thing like this.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ezWNh64s38o'\n title='//www.youtube.com/embed/ezWNh64s38o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the atmosphere at \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I didn’t like that there was a culture of fear and intimidation. Whether or not you’re going to be directly sexist and give all the parts to the men or whatever, or whether there’s going to be what I actually think is a much more confusing culture of misogyny that encourages fear and shame. That’s what was going on there. That’s a culture that is encouraged by the people that run the show. … I think that feeling dressed-down, feeling shamed, feeling like you shouldn’t have tried: those are all pressures that are encouraged in a misogynist environment, where there’s not an openness, there’s not a sense that power can present in a way that represents plurality—that there are many, many different ways to access power, and different people can hold it.\u003c/p>\n\u003cp>\u003cstrong>On being fired from \u003c/strong>\u003cstrong>\u003cem>SNL\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, I just felt really, really embarrassed and terrible. … Hardly anyone gets kicked out of a cult, because I guess they want you to stay. Like, they’re never like, “You’re bad—leave.” They’re like, “You’re bad, get in the bad closet. You have to make the salad dressing for everybody for three weeks!” But suddenly I just couldn’t imagine anything worse than getting fired. And then I just thought: I have to keep going. And no one can ever take away the dream.\u003c/p>\n\u003cp>And nothing will ever dim the lights of that experience, which was like: getting the job, leaving 30 Rock, calling my parents and saying “I am going to be on \u003cem>Saturday Night Live\u003c/em>“? That is what it is. It’s such a beautiful achievement. And it’s real and I did it. But it’s also the same as thinking you really met your soulmate, and going on the fourth date, and being like, “Did they just say ‘\u003cem>li-bary\u003c/em>‘”? … Get over it, it’s not a match. …\u003c/p>\n\u003cp>But what had also happened at the time, and what always happens, is that: Until I eventually croak, I will not die. I truly will not lie down. And you can be kicked out of a place; I definitely believe that. But I also believe the opportunity to find self-love and creative fulfillment is not a hallway with one door guarded by a super-old man. Actually, it’s spherical, and you just have to hold it between your legs. Just look down, find your opportunity.\u003c/p>\n\u003cp>\u003cstrong>On “Marcel the Shell with Shoes On”\u003c/strong>\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/VF9-sEbqDvU'\n title='//www.youtube.com/embed/VF9-sEbqDvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>First of all, it allowed me to be sweet and melancholy at once—and to understand one of the things that is essential in my belief as a performer, which is that sorrow is not the same as pessimism, and that you can feel sadness and still be an optimist and not be worried that that’s being wrung out. … And also, doing Marcel, for me, was like, “No, I can still be really strong at comedy, but I don’t really want to compromise on sweetness.” Like, I just don’t think it’s for wimps. I actually think it’s for the strong.\u003c/p>\n\u003cp>\u003cstrong>On if she’s found her voice in comedy\u003c/strong>\u003c/p>\n\u003cp>Yes, I do feel like that. I do. … I really feel that something that started with “Marcel the Shell,” which was drawing close sweetness, and understanding that smallness doesn’t necessarily mean that you suffer from essential diminishment. Starting to gather things that can be held at once was really important. But then writing this book—first, I meant to write something else, and then I started to write things to soothe myself, and I started to like to read my reading to myself. And I just—you know, especially on the internet, there’s so much snark and posturing and posturing at joy and fabricated joy or people taking pictures of themselves in mid-laugh and stuff and really putting that there like, “I’m just happiness in action, there’s nothing else going on for me! I promise! No stress!” I was reacting to that a little bit, to just feeling like I want to tell the truth. And the truth about me is not that I’m really volatile and I’m unstable, but that I’m really vibrant, and the color of my sorrow is just as bright as the stripes of my delight.\u003c/p>\n\u003cfigure id=\"attachment_13870048\" class=\"wp-caption alignright\" style=\"max-width: 304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg\" alt=\"'Little Weirds' by Jenny Slate.\" width=\"304\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85-160x237.jpg 160w\" sizes=\"auto, (max-width: 304px) 100vw, 304px\">\u003cfigcaption class=\"wp-caption-text\">‘Little Weirds’ by Jenny Slate. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I started to really find words that I loved, and now they won’t go away. And I also noticed that in writing, I really enjoyed the odd pairing that occurs when you are trying to employ alliteration. And that my writing—at least to me without being juvenile—had all the tricks of a limerick, without being, like, “stupid little so-and-so fell into a shoe” or whatever … I guess there is [poetry in my writing]. I didn’t do it on purpose, but I think there is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Christina Cala, Bilal Qureshi, Joanna Pawlowska and Emily Kopp produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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 noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sorrow+Is+Not+The+Same+As+Pessimism%27%3A+Comedian+Jenny+Slate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies",
"headTitle": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies | KQED",
"content": "\u003cp>[\u003cstrong>UPDATE:\u003c/strong> As of Monday 11/11, we have added three films from OWN and two from Freeform.]\u003c/p>\n\u003cp>It’s holiday TV movie season, and it’s not just a Hallmark party. There’s also Lifetime, UPTV, and—increasingly—Netflix, as well as OWN and Freeform.\u003c/p>\n\u003cp>We know that for devotees of this genre, it can be hard to keep up. Therefore, we have prepared a helpful guide to all the new movies we’re aware of that are on tap for the season, complete with notations for which tropes they offer. Everything in bold is what I would consider an element of holiday programming; that should help you find what you need. Are you a person who likes to see a “suit man” learn the new meaning of Christmas? We can help! Do you prefer to see someone save her hometown? You’ll find just the right movie for you, right here. And remember: These are just the \u003cem>new \u003c/em>ones. There are so many!\u003c/p>\n\u003cp>I’ve also noted where beloved celebrities and nostalgic figures are present—I admit this is a blurry line between these categories, but it’s meant to be “famous for [specific character/project]” versus “famous generally.”\u003c/p>\n\u003cp>Note that these are based on what the networks and services have revealed thus far. Some of these might have hidden elves or moppets or musical numbers that just haven’t revealed themselves yet. You have to keep \u003cem>some \u003c/em>surprises for Santa, right?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ho-ho-ho.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Picture a Perfect Christmas \u003c/strong>\u003c/em>(Hallmark, 11/9, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HrNPPe7hkas\u003c/p>\n\u003cp>She’s an “extreme sports photographer” who goes to her own little town to take care of Grandma and meets a neighbor whose nephew is visiting him. She learns that \u003cstrong>this little town is OK\u003c/strong>. Also \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Radio Christmas\u003c/strong>\u003c/em> (Lifetime, 11/9, 8 pmET)\u003c/p>\n\u003cp>Keshia Knight Pulliam plays a DJ who is forced to relocate from her Philadelphia broadcasting digs to the small town of—you guessed it—Bethlehem, and it turns out \u003cstrong>this little town is OK\u003c/strong>. Also, \u003cstrong>everybody cares too much about Christmas\u003c/strong>, in that there is apparently a “year-round Christmas station.” (You can kind of forgive them because it’s Bethlehem, I suppose.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rock N’ Roll Christmas \u003c/strong>\u003c/em>(UPTV, 11/10, 7pmET)\u003c/p>\n\u003cp>Estranged mother and daughter singers \u003cstrong>rush to get ready\u003c/strong> in time to write a Christmas single together. Will they succeed? I would say it’s fa-la-la-la-likely. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Mistletoe Secret \u003c/strong>\u003c/em>(Hallmark, 11/10, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N8oliBufPuY\u003c/p>\n\u003cp>Remember Kellie Pickler from \u003cem>American Idol\u003c/em>? This is what she does now! She plays a woman whose hometown is losing tourists until a \u003cstrong>grumpy journalist\u003c/strong> agrees to write an article about it, and she has the chance to \u003cstrong>help her hometown\u003c/strong>! Nostalgic figure \u003cstrong>Patrick Duffy\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Sweet Christmas Romance \u003c/strong>\u003c/em>(Lifetime, 11/10, 8 pmET)\u003c/p>\n\u003cp>A food stylist returns to her hometown, where she has the opportunity to participate in a baking contest to win ownership of an \u003cstrong>adorable small business\u003c/strong>, her favorite bakery. Of course, there’s a guy who will be her \u003cstrong>professional competitor\u003c/strong>. Will they fall in love? MIGHT THEY?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Miracle \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/14, 9 pmET)\u003c/p>\n\u003cp>A journalist tries to create a Christmas miracle. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas a La Mode\u003c/strong>\u003c/em> (Lifetime, 11/15, 8 pmET)\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business\u003c/strong>, a family dairy farm? With a \u003cstrong>high-stakes competition\u003c/strong> involving ice cream.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>One Fine Christmas \u003c/strong>\u003c/em>(OWN, 11/15 9 pmET)\u003c/p>\n\u003cp>An impressive ensemble cast including Rick Fox and his daughter Sasha, Vanessa Williams (the \u003cem>Melrose Place \u003c/em>one, not the “Save The Best For Last”/\u003cem>Ugly Betty\u003c/em> one) and Marla Gibbs shows up for this multi-thread story about people living on Christmas Street (where probably \u003cstrong>everybody cares too much about Christmas\u003c/strong>) who have to navigate various hurdles to create \u003cstrong>a perfect Christmas\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Under the Stars\u003c/strong>\u003c/em> (Hallmark 11/16, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=knF-OXlZHVc\u003c/p>\n\u003cp>He’s a \u003cstrong>suit man\u003c/strong> who loses his job and goes to work on a Christmas tree lot despite his \u003cstrong>missing Christmas spirit\u003c/strong>. You get no points for figuring out what happens when he meets Julie, “an astronomy teacher who’s always looked to the stars for hope.” \u003cstrong>Beloved celebrity\u003c/strong> Clarke Peters!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Louisiana\u003c/strong>\u003c/em> (Lifetime, 11/16, 8 pmET)\u003c/p>\n\u003cp>Well she’s a former Miss Christmas in her town, a title that exists because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and she goes back home and runs into the former Mister Christmas, and they might perhaps fall in love and presumably wear matching wreath crowns. \u003cstrong>Beloved celebrities \u003c/strong>Barry Bostwick, Moira Kelly and Dee Wallace.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Cupcakes \u003c/strong>\u003c/em>(UPTV, 11/17, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKtKoj-6Uao\u003c/p>\n\u003cp>How to save the family bakery, a truly \u003cstrong>adorable small business\u003c/strong>? Win a \u003cstrong>high-stakes competition\u003c/strong> on television!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Write Before Christmas \u003c/strong>\u003c/em>(Hallmark, 11/17, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UfNtogYfUmA\u003c/p>\n\u003cp>A woman sends thank-you notes at Christmas. The most important thing to know about this one is that \u003cstrong>nostalgic figure \u003c/strong>Grant Show, former \u003cem>Melrose Place \u003c/em>hottie, is now playing Hot Gray Hair types, and it’s possible that he looks better than ever. Here, most of his scenes seem to be with a cute dog. Also \u003cstrong>beloved celebrity \u003c/strong>Lolita Davidovich. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Random Acts of Christmas \u003c/strong>\u003c/em>(Lifetime, 11/17, 8 pmET)\u003c/p>\n\u003cp>An investigative journalist (not sure if she’s \u003cstrong>grumpy\u003c/strong>) tries to figure out why there are “random acts of Christmas” taking place. A man “ignites her Christmas spirit.” But he “may not be the man he claims to be.” So he could be a bank robber or an elf; we just don’t know. \u003cstrong>Nostalgic figures\u003c/strong> Patrick Duffy and Jaclyn Smith (Duffy’s pulling a twofer!).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Godwink Christmas: Meant For Love \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/17, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=evL3bYs1xFg\u003c/p>\n\u003cp>About a couple brought together by the \u003cstrong>actual supernatural force\u003c/strong> that is “Godwinks,” which are literally winks from God in the theology of the books that inspired this movie as well as a previous one just called \u003cem>A Godwink Christmas\u003c/em>. \u003cstrong>Beloved celebrity \u003c/strong>Kathie Lee Gifford.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Knight Before Christmas\u003c/strong>\u003c/em> (Netflix, 11/21)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JtwROpSVWc\u003c/p>\n\u003cp>If you were a medieval knight and you were magically transported to Christmas in contemporary Ohio, wouldn’t \u003cem>you \u003c/em>hope to run into Vanessa Hudgens? Sure you would. So would this guy, and it happens to him thanks to the \u003cstrong>actual supernatural force \u003c/strong>of time travel. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Magical Christmas Shoes \u003c/strong>\u003c/em>(Lifetime, 11/22, 8 pmET)\u003c/p>\n\u003cp>This is not the same movie as \u003cem>The Christmas Shoes\u003c/em>, based on the book \u003cem>The Christmas Shoes \u003c/em>which was based on the song “The Christmas Shoes.” No, this is \u003cem>The Magical Christmas Shoes\u003c/em>, and it’s something else entirely, but it appears to involve \u003cstrong>actual supernatural forces\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carole’s Christmas\u003c/strong>\u003c/em> (OWN, 11/22 9pm ET)\u003c/p>\n\u003cp>The great and good Jackée Harry stars opposite Kimberly Elise in this story about a woman played by Elise who encounters \u003cstrong>actual supernatural forces\u003c/strong> that allow her to rediscover the true spirit of Christmas after she wishes to explore a different life. Harry appears to be her spiritual advisor in some manner, which makes Carole very lucky indeed.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Twinkle All the Way \u003c/strong>\u003c/em>(Lifetime, 11/23, 8 pmET)\u003c/p>\n\u003cp>So there’s a woman in \u003cstrong>event planning\u003c/strong> who has to plan a Christmas wedding, which is pretty hard. But fortunately for her, she meets a guy who runs a [checks notes] “Christmas decoration and house-lighting company,” where \u003cstrong>everybody cares too much about Christmas.\u003c/strong> They undoubtedly have to \u003cstrong>rush to get ready \u003c/strong>for her wedding and also do the work for his client, who is played by \u003cstrong>beloved celebrity \u003c/strong>Lesley Ann Warren.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Hearts \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/23, 9 pmET)\u003c/p>\n\u003cp>Two people have to care for a friend’s daughter at the same time she has to do holiday \u003cstrong>event planning\u003c/strong> for a Christmas party, which seems like a lot of pressure.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Graceland: Home For the Holidays \u003c/strong>\u003c/em>(Hallmark, 11/23, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zdV4Wucn6s\u003c/p>\n\u003cp>Remember Adrian Grenier from \u003cem>Entourage\u003c/em>? This is what he does now! He plays a \u003cstrong>suit man\u003c/strong> who prioritizes his job until the nanny he hired, who’s home in Memphis for the holidays, convinces him to stop and smell the peanut butter and bacon sandwiches at the famous \u003cstrong>location, location, location\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Priscilla Presley!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Turkey Drop \u003c/strong>\u003c/em>(Freeform, 11/23, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7O2vvd9Ze1s\u003c/p>\n\u003cp>I had never heard the phrase “turkey dropped”—meaning “broken up with over the holidays, especially Thanksgiving”—and it seems truly terrible. But here we are, following a woman who fears that she’s about to be dumped thusly and starts trying to avoid it. (There aren’t many \u003cstrong>Thanksgiving \u003c/strong>movies, but here is one for you fans of feasting.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Recipe For Romance \u003c/strong>\u003c/em>(UPTV, 11/24, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NZeHPPJmiIo\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business \u003c/strong>that is your family-run inn? Win a \u003cstrong>high-stakes competition \u003c/strong>for which you’ll have to \u003cstrong>rush to get ready\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cherished Memories: A Gift to Remember 2 \u003c/strong>\u003c/em>(Hallmark, 11/24, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cf1X4-GFBZE\u003c/p>\n\u003cp>Look, I could explain this movie to you, or I could tell you that the first sentence of the description is “A year after Darcy ran over Aiden, his amnesia is gone but not their love.” (Darcy is also trying to save the rec center, meaning this is also an example of \u003cstrong>saving her hometown\u003c/strong>).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas 9 to 5 \u003c/strong>\u003c/em>(Lifetime, 11/24, 8 pmET)\u003c/p>\n\u003cp>Tiya Sircar (who plays Vicky/”Real Eleanor” on \u003cem>The Good Place\u003c/em>) plays a \u003cstrong>grump journalist\u003c/strong> (she might be more of a hopeful journalist, but it’s not clear) who’s assigned to find the \u003cstrong>true meaning of Christmas\u003c/strong>, so she becomes a sales clerk.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Duet\u003c/strong>\u003c/em> (Hallmark, 11/25, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbwrJ8puiRI\u003c/p>\n\u003cp>Averie and Jesse used to be a singing duo until they broke up, but now he, her \u003cstrong>old flame\u003c/strong>, comes to her lodge (a/k/a her \u003cstrong>adorable small business\u003c/strong>) over the holidays, and naturally they may just figure out how to get back together. They are played, we should note, by Chaley Rose and Rome Flynn, black leading actors on a channel that basically never used to have black leading actors but has some this year; Lifetime has significantly more and has for quite a while. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Check Inn to Christmas\u003c/strong>\u003c/em> (Hallmark, 11/26, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U52nc97kGnc\u003c/p>\n\u003cp>Her family and his family own rival cozy inns (what could be a more \u003cstrong>adorable small business\u003c/strong>?) and might just fall in love even though they are \u003cstrong>professional competitors\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Richard Karn! \u003cstrong>Horrible pun title\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Very Vintage Christmas\u003c/strong>\u003c/em> (Lifetime, 11/27, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M5iCkgzggbw\u003c/p>\n\u003cp>Tia Mowry-Hardrict is in this one about a woman who owns the ultimate \u003cstrong>adorable small business\u003c/strong>: an antique shop. She comes into possession of a box of someone’s old stuff (which cannot really be that uncommon, given that it’s an antique shop) and decides to return it. A man helps her, obviously.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Club \u003c/strong>\u003c/em>(Hallmark, 11/27, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rya4jG0vDUg\u003c/p>\n\u003cp>A man and a woman meet when they “help an elderly woman find her lost Christmas savings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Rush \u003c/strong>\u003c/em>(Netflix, 11/28)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c2U6diYTnxA\u003c/p>\n\u003cp>Romany Malco plays a dad who loses his job and has to struggle to make \u003cstrong>the perfect Christmas\u003c/strong> for his kids. \u003cstrong>Beloved celebrity\u003c/strong> Darlene Love is in it—will she sing “Christmas (Baby Please Come Home)”?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Wish \u003c/strong>\u003c/em>(Lifetime, 11/28, 8 pmET)\u003c/p>\n\u003cp>It’s not clear whether this movie about a woman who makes a wish for love really gets the wish via \u003cstrong>actual supernatural forces \u003c/strong>or whether she only \u003cem>thinks \u003c/em>she’s getting the wish when actually she’s not getting the wish but just falling in love the regular way, but I’m throwing it in here anyway.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at the Plaza \u003c/strong>\u003c/em>(Hallmark, 11/28, 8 pmET)\u003c/p>\n\u003cp>Jessica and Nick, who are perhaps named after countless characters from other TV romantic movies, are assigned to collaborate on a project at the Plaza Hotel, a very classy \u003cstrong>location, location, location\u003c/strong>. Features two \u003cstrong>beloved celebrities\u003c/strong>: Julia Duffy and Bruce Davison!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Staging Christmas \u003c/strong>\u003c/em>(Lifetime, 11/29, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Ar9rTDB9LQ\u003c/p>\n\u003cp>Soleil Moon Frye, known to children of the ’80s as Punky Brewster, is in this one as a woman who stages houses that people are selling. She gets a special assignment from a guy who doesn’t feel prepared to decorate his own house for Christmas but thinks his daughter would enjoy it. And then she teaches everybody the\u003cstrong> true meaning of Christmas\u003c/strong>, probably. (He is not a suit man; he is a sweater man, which is a very different man.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Evergreen: Tidings of Joy \u003c/strong>\u003c/em>(Hallmark, 11/29, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7YYVC_QkZ28&list=PLOeOtEopjKLoHBhE7KDG0gYQafVeRXqlr\u003c/p>\n\u003cp>The third film in a Hallmark franchise of sorts, this one is about Evergreen’s search for a time capsule and the \u003cstrong>grump journalist\u003c/strong> who comes to town and meets a woman just in time to be charmed by it all and \u003cstrong>help her hometown\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baking Christmas \u003c/strong>\u003c/em>(OWN, 11/29, 9 pmET)\u003c/p>\n\u003cp>The matriarch of a town bakery (the ultimate \u003cstrong>adorable small business\u003c/strong>) decides to retire, leaving her kids to participate in a \u003cstrong>high-stakes competition \u003c/strong>to determine who will take over.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Merry Liddle Christmas \u003c/strong>\u003c/em>(Lifetime, 11/30, 8 pmET)\u003c/p>\n\u003cp>Kelly Rowland stars as a woman who’s obsessed with\u003cstrong> the perfect Christmas\u003c/strong>, only to find that her family is all over the place and driving her crazy. Will she learn that the \u003cstrong>true meaning of Christmas\u003c/strong> is not about Instagram? I bet she will.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Rome \u003c/strong>\u003c/em>(Hallmark, 11/30, 8 pmET)\u003c/p>\n\u003cp>Lacey Chabert, one of our Christmas Movie Queens, plays a woman who shows around an American \u003cstrong>suit man\u003c/strong> who wants to buy a company in Rome, but suffers from \u003cstrong>missing Christmas spirit\u003c/strong> even in this tremendous \u003cstrong>location, location, location\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sense, Sensibility & Snowmen \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/30, 9 pmET)\u003c/p>\n\u003cp>“Christmas enthusiast” \u003cstrong>event planners \u003c/strong>get a client who’s a \u003cstrong>suit man \u003c/strong>and a “not-so-jolly toy company CEO.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Chalet \u003c/strong>\u003c/em>(UPTV, 12/1, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JAdNMdwF_CU\u003c/p>\n\u003cp>The Christmas chalet is double-booked (almost like being \u003cstrong>snowed in\u003c/strong>!), and the other person staying with a divorced mom and her daughter is a “\u003cstrong>grumpy writer\u003c/strong> who hates Christmas.” (Writer, journalist, you know.) Well, I bet he doesn’t hate Christmas for long. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>You Light Up My Christmas\u003c/strong>\u003c/em> (Lifetime, 12/1, 8 pmET)\u003c/p>\n\u003cp>Kim Fields plays a woman whose hometown was “built around her family’s pioneer Christmas Light Factory.” (Perhaps \u003cstrong>everybody cares too much about Christmas\u003c/strong>?) She needs to \u003cstrong>help her hometown \u003c/strong>and her \u003cstrong>adorable small business\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Town\u003c/strong>\u003c/em> (Hallmark, 12/1, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RBhwO2Yt8xI\u003c/p>\n\u003cp>A career woman discovers that \u003cstrong>this little town is OK\u003c/strong> when she winds up in said little town, where there is Some Dude. Stars Candance Cameron Bure, billed as “Christmas favorite Candace Cameron Bure.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ghosting: The Spirit of Christmas\u003c/strong>\u003c/em> (Freeform, 12/7 9 pmET)\u003c/p>\n\u003cp>It was probably inevitable that people would begin experimenting with what it would be like if “ghosting” happened because you were actually dead. That’s the premise of this Freeform movie about \u003cstrong>actual supernatural forces\u003c/strong>, in which a woman goes on a great date and then dies, making it difficult for her to return texts and so forth.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Prince: The Royal Baby \u003c/strong>\u003c/em>(Netflix, 12/5)\u003c/p>\n\u003cp>The \u003cstrong>royal family\u003c/strong> franchise that is following the literal “first comes love, then comes marriage, then comes Tiny in the baby carriage” rhyme reaches its third chapter. Is there anything left after this? The Royal Home Equity Loan?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Storybook Christmas\u003c/strong>\u003c/em> (Lifetime, 12/6, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rdl4eyqlaOk\u003c/p>\n\u003cp>An \u003cstrong>event planner\u003c/strong> hires a nanny for her niece at Christmas and THE NANNY IS A MAN. We are through the looking glass of traditional gender roles.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mistletoe and Menorahs\u003c/strong>\u003c/em> (Lifetime, 12/7, 6 pmET)\u003c/p>\n\u003cp>She has to learn about \u003cstrong>Hanukkah\u003c/strong>! He has to learn about Christmas! They’d better get busy!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Unleashed\u003c/strong>\u003c/em> (Lifetime, 12/7, 8 pmET)\u003c/p>\n\u003cp>An \u003cstrong>old flame\u003c/strong> has to help find Vanessa Lachey’s dog. Well, not Vanessa Lachey. A woman played by Vanessa Lachey. You know what I’m saying.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Love Story \u003c/strong>\u003c/em>(Hallmark [Hall Of Fame], 12/7, 8 pmET)\u003c/p>\n\u003cp>Kristin Chenoweth plays a youth choir director who meets the widowed father (Scott Wolf) of just the beautiful \u003cstrong>moppet \u003c/strong>singer she’s been looking for. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Homecoming For the Holidays \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 12/7, 9 pmET)\u003c/p>\n\u003cp>Actual Broadway performer (and winner of the reality show \u003cem>Grease: You’re The One That I Want!\u003c/em>) Laura Osnes stars as a country singer who helps a guy build a house for a friend. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Paris\u003c/strong>\u003c/em> (UPTV, 12/8, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GSlXzW-sXFs\u003c/p>\n\u003cp>A rich French guy comes to Montana, whisks a local woman off to Paris for Christmas, and has a secret. \u003cstrong>Location, location, location!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Dollywood \u003c/strong>\u003c/em>(Hallmark, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two people fall in love while\u003cstrong> event planning\u003c/strong>, specifically for the Christmas show at Dollywood. \u003cstrong>There’s probably music \u003c/strong>at this particular \u003cstrong>location, location, location\u003c/strong>. Features \u003cstrong>beloved celebrity \u003c/strong>Dolly Parton!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Grounded For Christmas\u003c/strong>\u003c/em> (Lifetime, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two pilots who don’t get along find their flight \u003cstrong>snowed in \u003c/strong>so they’re stuck in Cleveland. They wind up at her parents’ house, but because her ex is around, he agrees to a scheme where her family can \u003cstrong>meet her fake boyfriend\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Stars \u003c/strong>\u003c/em>(Lifetime, 12/13, 8 pmET)\u003c/p>\n\u003cp>J.T. Hodges and Erica Durance star as aspiring singers working together and maybe falling in love and there’s a \u003cstrong>high-stakes competition \u003c/strong>and \u003cstrong>there’s probably music \u003c/strong>and is this \u003cem>A Star Is Born: Christmas Edition\u003c/em> or what?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Matchmaker Christmas\u003c/strong>\u003c/em> (Lifetime, 12/14, 6 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dnvrP1_9zak\u003c/p>\n\u003cp>The \u003cstrong>old flame\u003c/strong> who shows up around Christmas in this one is named Jaxson. Yyyyikes. I say don’t do it, girl.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Winter Song \u003c/strong>\u003c/em>(Lifetime, 12/14, 8 pmET)\u003c/p>\n\u003cp>Ashanti is in this one, as a woman who meets a former jazz singer named Fred, played by Stan Shaw, who’s now homeless. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Date\u003c/strong>\u003c/em> (Hallmark, 12/14, 8 pmET)\u003c/p>\n\u003cp>Brooke brings an actor home to have her family \u003cstrong>meet her fake boyfriend\u003c/strong> over the holidays, something many many romcom characters have tried. And then she learns he’s Jewish and celebrates \u003cstrong>Hanukkah\u003c/strong>. \u003cstrong>Beloved celebrity \u003c/strong>Bruce Boxleitner!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Snowbound for Christmas \u003c/strong>\u003c/em>(UPTV, 12/15, 7 pmET)\u003c/p>\n\u003cp>This is actually based on a novella that I have read, by the terrific romance writer Shannon Stacey! (It was called \u003cem>Snowbound with the CEO.\u003c/em>) A boss brings his marketing executive to a pitch that will take place at a resort, and they are \u003cstrong>snowed in\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rediscovering Christmas \u003c/strong>\u003c/em>(Lifetime, 12/15, 8 pmET)\u003c/p>\n\u003cp>Mia the big-city window dresser has to come back to \u003cstrong>help her hometown\u003c/strong> to help with the annual Snowflake festival!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Cheerful Christmas\u003c/strong>\u003c/em> (Hallmark, 12/15, 8 pmET)\u003c/p>\n\u003cp>A woman is hired as the “Christmas coach” to restore the \u003cstrong>missing Christmas spirit \u003c/strong>of someone who is somehow both a member of a \u003cstrong>royal family\u003c/strong> and a \u003cstrong>suit man\u003c/strong> at a company.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Temp \u003c/strong>\u003c/em>(Lifetime, 12/20, 8 pmET)\u003c/p>\n\u003cp>There is a “Christmas temp agency” in this movie because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and it has an HR manager for whom the titular Christmas Temp has “feelings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Love Letter \u003c/strong>\u003c/em>(Lifetime, 12/21, 6 pmET)\u003c/p>\n\u003cp>A relationship advice columnist goes back home to figure out who wrote her an anonymous love letter. Information is limited, but based on the promotional photo, I can add \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Hotel \u003c/strong>\u003c/em>(Lifetime, 12/21, 8 pmET)\u003c/p>\n\u003cp>Garland Grove (where this takes place) is all about Christmas 12 months a year, making it the ultimate \u003cstrong>everybody cares too much about Christmas \u003c/strong>situation. Erin (Tatyana Ali) is in charge of developing a new hotel and \u003cstrong>help her hometown\u003c/strong>, so she makes it a Christmas Hotel to please the locals. Her \u003cstrong>old flame \u003c/strong>helps her find her \u003cstrong>missing Christmas spirit\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>It’s Beginning to Look a Lot Like Christmas\u003c/strong>\u003c/em> (Hallmark, 12/21, 8 pmET)\u003c/p>\n\u003cp>No description except a photo of a man in a sweater looking hopefully upward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Wedding Runaway\u003c/strong>\u003c/em> (UPTV, 12/22, 7 pmET)\u003c/p>\n\u003cp>A soon-to-be bride is \u003cstrong>snowed in\u003c/strong> with her Grandma and an \u003cstrong>old flame\u003c/strong>. In the promotional photo, one guy is wearing glasses and a suit and the other guy is scruffy with a flannel shirt, so I’m pretty sure the flannel shirt guy will win, even on UPTV.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Double Holiday\u003c/strong>\u003c/em> (Hallmark, 12/22, 8 pmET)\u003c/p>\n\u003cp>Rebecca, who celebrates \u003cstrong>Hanukkah\u003c/strong>, is thrown together with Chris, who celebrates Christmas, to carry out some \u003cstrong>event planning\u003c/strong> around the office holiday party. Naturally they fall in love, even though they’re \u003cstrong>professional competitors\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Date By Christmas Eve \u003c/strong>\u003c/em>(Lifetime, 12/22, 8 pmET)\u003c/p>\n\u003cp>A woman gets magical powers from the \u003cstrong>actual supernatural forces \u003c/strong>within a dating app and accidentally adds her kindly neighbor to the naughty list, and do not get me started.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baby in a Manger \u003c/strong>\u003c/em>(UPTV, 12/24, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UqM_QMFOHkg\u003c/p>\n\u003cp>Someone has abandoned a baby in a nativity scene (a little on the nose), so a social worker and a police officer work to find the baby’s mother. I can’t even figure out what they want you to root for!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>New Year, New Me \u003c/strong>\u003c/em>(Hallmark, 12/28, 8 pmET)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No description except a photo of part of a tree.\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=The+Cozy+Snowbound+Sweater-Wearing+Guide+To+2019+Holiday+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Yes, it's here again: the season when cable and streaming networks offer a deluge of holiday stories—61 in all!—full of happy couples, moppets and people learning the true meaning of Christmas.",
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"description": "Yes, it's here again: the season when cable and streaming networks offer a deluge of holiday stories—61 in all!—full of happy couples, moppets and people learning the true meaning of Christmas.",
"title": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[\u003cstrong>UPDATE:\u003c/strong> As of Monday 11/11, we have added three films from OWN and two from Freeform.]\u003c/p>\n\u003cp>It’s holiday TV movie season, and it’s not just a Hallmark party. There’s also Lifetime, UPTV, and—increasingly—Netflix, as well as OWN and Freeform.\u003c/p>\n\u003cp>We know that for devotees of this genre, it can be hard to keep up. Therefore, we have prepared a helpful guide to all the new movies we’re aware of that are on tap for the season, complete with notations for which tropes they offer. Everything in bold is what I would consider an element of holiday programming; that should help you find what you need. Are you a person who likes to see a “suit man” learn the new meaning of Christmas? We can help! Do you prefer to see someone save her hometown? You’ll find just the right movie for you, right here. And remember: These are just the \u003cem>new \u003c/em>ones. There are so many!\u003c/p>\n\u003cp>I’ve also noted where beloved celebrities and nostalgic figures are present—I admit this is a blurry line between these categories, but it’s meant to be “famous for [specific character/project]” versus “famous generally.”\u003c/p>\n\u003cp>Note that these are based on what the networks and services have revealed thus far. Some of these might have hidden elves or moppets or musical numbers that just haven’t revealed themselves yet. You have to keep \u003cem>some \u003c/em>surprises for Santa, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ho-ho-ho.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Picture a Perfect Christmas \u003c/strong>\u003c/em>(Hallmark, 11/9, 8 pmET)\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/HrNPPe7hkas'\n title='//www.youtube.com/embed/HrNPPe7hkas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She’s an “extreme sports photographer” who goes to her own little town to take care of Grandma and meets a neighbor whose nephew is visiting him. She learns that \u003cstrong>this little town is OK\u003c/strong>. Also \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Radio Christmas\u003c/strong>\u003c/em> (Lifetime, 11/9, 8 pmET)\u003c/p>\n\u003cp>Keshia Knight Pulliam plays a DJ who is forced to relocate from her Philadelphia broadcasting digs to the small town of—you guessed it—Bethlehem, and it turns out \u003cstrong>this little town is OK\u003c/strong>. Also, \u003cstrong>everybody cares too much about Christmas\u003c/strong>, in that there is apparently a “year-round Christmas station.” (You can kind of forgive them because it’s Bethlehem, I suppose.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rock N’ Roll Christmas \u003c/strong>\u003c/em>(UPTV, 11/10, 7pmET)\u003c/p>\n\u003cp>Estranged mother and daughter singers \u003cstrong>rush to get ready\u003c/strong> in time to write a Christmas single together. Will they succeed? I would say it’s fa-la-la-la-likely. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Mistletoe Secret \u003c/strong>\u003c/em>(Hallmark, 11/10, 8 pmET)\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/N8oliBufPuY'\n title='//www.youtube.com/embed/N8oliBufPuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember Kellie Pickler from \u003cem>American Idol\u003c/em>? This is what she does now! She plays a woman whose hometown is losing tourists until a \u003cstrong>grumpy journalist\u003c/strong> agrees to write an article about it, and she has the chance to \u003cstrong>help her hometown\u003c/strong>! Nostalgic figure \u003cstrong>Patrick Duffy\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Sweet Christmas Romance \u003c/strong>\u003c/em>(Lifetime, 11/10, 8 pmET)\u003c/p>\n\u003cp>A food stylist returns to her hometown, where she has the opportunity to participate in a baking contest to win ownership of an \u003cstrong>adorable small business\u003c/strong>, her favorite bakery. Of course, there’s a guy who will be her \u003cstrong>professional competitor\u003c/strong>. Will they fall in love? MIGHT THEY?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Miracle \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/14, 9 pmET)\u003c/p>\n\u003cp>A journalist tries to create a Christmas miracle. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas a La Mode\u003c/strong>\u003c/em> (Lifetime, 11/15, 8 pmET)\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business\u003c/strong>, a family dairy farm? With a \u003cstrong>high-stakes competition\u003c/strong> involving ice cream.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>One Fine Christmas \u003c/strong>\u003c/em>(OWN, 11/15 9 pmET)\u003c/p>\n\u003cp>An impressive ensemble cast including Rick Fox and his daughter Sasha, Vanessa Williams (the \u003cem>Melrose Place \u003c/em>one, not the “Save The Best For Last”/\u003cem>Ugly Betty\u003c/em> one) and Marla Gibbs shows up for this multi-thread story about people living on Christmas Street (where probably \u003cstrong>everybody cares too much about Christmas\u003c/strong>) who have to navigate various hurdles to create \u003cstrong>a perfect Christmas\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Under the Stars\u003c/strong>\u003c/em> (Hallmark 11/16, 9 pmET)\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/knF-OXlZHVc'\n title='//www.youtube.com/embed/knF-OXlZHVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s a \u003cstrong>suit man\u003c/strong> who loses his job and goes to work on a Christmas tree lot despite his \u003cstrong>missing Christmas spirit\u003c/strong>. You get no points for figuring out what happens when he meets Julie, “an astronomy teacher who’s always looked to the stars for hope.” \u003cstrong>Beloved celebrity\u003c/strong> Clarke Peters!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Louisiana\u003c/strong>\u003c/em> (Lifetime, 11/16, 8 pmET)\u003c/p>\n\u003cp>Well she’s a former Miss Christmas in her town, a title that exists because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and she goes back home and runs into the former Mister Christmas, and they might perhaps fall in love and presumably wear matching wreath crowns. \u003cstrong>Beloved celebrities \u003c/strong>Barry Bostwick, Moira Kelly and Dee Wallace.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Cupcakes \u003c/strong>\u003c/em>(UPTV, 11/17, 7 pmET)\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/cKtKoj-6Uao'\n title='//www.youtube.com/embed/cKtKoj-6Uao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to save the family bakery, a truly \u003cstrong>adorable small business\u003c/strong>? Win a \u003cstrong>high-stakes competition\u003c/strong> on television!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Write Before Christmas \u003c/strong>\u003c/em>(Hallmark, 11/17, 8 pmET)\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/UfNtogYfUmA'\n title='//www.youtube.com/embed/UfNtogYfUmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A woman sends thank-you notes at Christmas. The most important thing to know about this one is that \u003cstrong>nostalgic figure \u003c/strong>Grant Show, former \u003cem>Melrose Place \u003c/em>hottie, is now playing Hot Gray Hair types, and it’s possible that he looks better than ever. Here, most of his scenes seem to be with a cute dog. Also \u003cstrong>beloved celebrity \u003c/strong>Lolita Davidovich. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Random Acts of Christmas \u003c/strong>\u003c/em>(Lifetime, 11/17, 8 pmET)\u003c/p>\n\u003cp>An investigative journalist (not sure if she’s \u003cstrong>grumpy\u003c/strong>) tries to figure out why there are “random acts of Christmas” taking place. A man “ignites her Christmas spirit.” But he “may not be the man he claims to be.” So he could be a bank robber or an elf; we just don’t know. \u003cstrong>Nostalgic figures\u003c/strong> Patrick Duffy and Jaclyn Smith (Duffy’s pulling a twofer!).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Godwink Christmas: Meant For Love \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/17, 9 pmET)\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/evL3bYs1xFg'\n title='//www.youtube.com/embed/evL3bYs1xFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>About a couple brought together by the \u003cstrong>actual supernatural force\u003c/strong> that is “Godwinks,” which are literally winks from God in the theology of the books that inspired this movie as well as a previous one just called \u003cem>A Godwink Christmas\u003c/em>. \u003cstrong>Beloved celebrity \u003c/strong>Kathie Lee Gifford.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Knight Before Christmas\u003c/strong>\u003c/em> (Netflix, 11/21)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-JtwROpSVWc'\n title='//www.youtube.com/embed/-JtwROpSVWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you were a medieval knight and you were magically transported to Christmas in contemporary Ohio, wouldn’t \u003cem>you \u003c/em>hope to run into Vanessa Hudgens? Sure you would. So would this guy, and it happens to him thanks to the \u003cstrong>actual supernatural force \u003c/strong>of time travel. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Magical Christmas Shoes \u003c/strong>\u003c/em>(Lifetime, 11/22, 8 pmET)\u003c/p>\n\u003cp>This is not the same movie as \u003cem>The Christmas Shoes\u003c/em>, based on the book \u003cem>The Christmas Shoes \u003c/em>which was based on the song “The Christmas Shoes.” No, this is \u003cem>The Magical Christmas Shoes\u003c/em>, and it’s something else entirely, but it appears to involve \u003cstrong>actual supernatural forces\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carole’s Christmas\u003c/strong>\u003c/em> (OWN, 11/22 9pm ET)\u003c/p>\n\u003cp>The great and good Jackée Harry stars opposite Kimberly Elise in this story about a woman played by Elise who encounters \u003cstrong>actual supernatural forces\u003c/strong> that allow her to rediscover the true spirit of Christmas after she wishes to explore a different life. Harry appears to be her spiritual advisor in some manner, which makes Carole very lucky indeed.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Twinkle All the Way \u003c/strong>\u003c/em>(Lifetime, 11/23, 8 pmET)\u003c/p>\n\u003cp>So there’s a woman in \u003cstrong>event planning\u003c/strong> who has to plan a Christmas wedding, which is pretty hard. But fortunately for her, she meets a guy who runs a [checks notes] “Christmas decoration and house-lighting company,” where \u003cstrong>everybody cares too much about Christmas.\u003c/strong> They undoubtedly have to \u003cstrong>rush to get ready \u003c/strong>for her wedding and also do the work for his client, who is played by \u003cstrong>beloved celebrity \u003c/strong>Lesley Ann Warren.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Hearts \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/23, 9 pmET)\u003c/p>\n\u003cp>Two people have to care for a friend’s daughter at the same time she has to do holiday \u003cstrong>event planning\u003c/strong> for a Christmas party, which seems like a lot of pressure.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Graceland: Home For the Holidays \u003c/strong>\u003c/em>(Hallmark, 11/23, 8 pmET)\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/7zdV4Wucn6s'\n title='//www.youtube.com/embed/7zdV4Wucn6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember Adrian Grenier from \u003cem>Entourage\u003c/em>? This is what he does now! He plays a \u003cstrong>suit man\u003c/strong> who prioritizes his job until the nanny he hired, who’s home in Memphis for the holidays, convinces him to stop and smell the peanut butter and bacon sandwiches at the famous \u003cstrong>location, location, location\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Priscilla Presley!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Turkey Drop \u003c/strong>\u003c/em>(Freeform, 11/23, 9 pmET)\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/7O2vvd9Ze1s'\n title='//www.youtube.com/embed/7O2vvd9Ze1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I had never heard the phrase “turkey dropped”—meaning “broken up with over the holidays, especially Thanksgiving”—and it seems truly terrible. But here we are, following a woman who fears that she’s about to be dumped thusly and starts trying to avoid it. (There aren’t many \u003cstrong>Thanksgiving \u003c/strong>movies, but here is one for you fans of feasting.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Recipe For Romance \u003c/strong>\u003c/em>(UPTV, 11/24, 7 pmET)\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/NZeHPPJmiIo'\n title='//www.youtube.com/embed/NZeHPPJmiIo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to save the \u003cstrong>adorable small business \u003c/strong>that is your family-run inn? Win a \u003cstrong>high-stakes competition \u003c/strong>for which you’ll have to \u003cstrong>rush to get ready\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cherished Memories: A Gift to Remember 2 \u003c/strong>\u003c/em>(Hallmark, 11/24, 8 pmET)\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/cf1X4-GFBZE'\n title='//www.youtube.com/embed/cf1X4-GFBZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, I could explain this movie to you, or I could tell you that the first sentence of the description is “A year after Darcy ran over Aiden, his amnesia is gone but not their love.” (Darcy is also trying to save the rec center, meaning this is also an example of \u003cstrong>saving her hometown\u003c/strong>).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas 9 to 5 \u003c/strong>\u003c/em>(Lifetime, 11/24, 8 pmET)\u003c/p>\n\u003cp>Tiya Sircar (who plays Vicky/”Real Eleanor” on \u003cem>The Good Place\u003c/em>) plays a \u003cstrong>grump journalist\u003c/strong> (she might be more of a hopeful journalist, but it’s not clear) who’s assigned to find the \u003cstrong>true meaning of Christmas\u003c/strong>, so she becomes a sales clerk.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Duet\u003c/strong>\u003c/em> (Hallmark, 11/25, 8 pmET)\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/LbwrJ8puiRI'\n title='//www.youtube.com/embed/LbwrJ8puiRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Averie and Jesse used to be a singing duo until they broke up, but now he, her \u003cstrong>old flame\u003c/strong>, comes to her lodge (a/k/a her \u003cstrong>adorable small business\u003c/strong>) over the holidays, and naturally they may just figure out how to get back together. They are played, we should note, by Chaley Rose and Rome Flynn, black leading actors on a channel that basically never used to have black leading actors but has some this year; Lifetime has significantly more and has for quite a while. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Check Inn to Christmas\u003c/strong>\u003c/em> (Hallmark, 11/26, 8 pmET)\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/U52nc97kGnc'\n title='//www.youtube.com/embed/U52nc97kGnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her family and his family own rival cozy inns (what could be a more \u003cstrong>adorable small business\u003c/strong>?) and might just fall in love even though they are \u003cstrong>professional competitors\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Richard Karn! \u003cstrong>Horrible pun title\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Very Vintage Christmas\u003c/strong>\u003c/em> (Lifetime, 11/27, 8 pmET)\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/M5iCkgzggbw'\n title='//www.youtube.com/embed/M5iCkgzggbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tia Mowry-Hardrict is in this one about a woman who owns the ultimate \u003cstrong>adorable small business\u003c/strong>: an antique shop. She comes into possession of a box of someone’s old stuff (which cannot really be that uncommon, given that it’s an antique shop) and decides to return it. A man helps her, obviously.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Club \u003c/strong>\u003c/em>(Hallmark, 11/27, 8 pmET)\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/Rya4jG0vDUg'\n title='//www.youtube.com/embed/Rya4jG0vDUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A man and a woman meet when they “help an elderly woman find her lost Christmas savings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Rush \u003c/strong>\u003c/em>(Netflix, 11/28)\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/c2U6diYTnxA'\n title='//www.youtube.com/embed/c2U6diYTnxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Romany Malco plays a dad who loses his job and has to struggle to make \u003cstrong>the perfect Christmas\u003c/strong> for his kids. \u003cstrong>Beloved celebrity\u003c/strong> Darlene Love is in it—will she sing “Christmas (Baby Please Come Home)”?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Wish \u003c/strong>\u003c/em>(Lifetime, 11/28, 8 pmET)\u003c/p>\n\u003cp>It’s not clear whether this movie about a woman who makes a wish for love really gets the wish via \u003cstrong>actual supernatural forces \u003c/strong>or whether she only \u003cem>thinks \u003c/em>she’s getting the wish when actually she’s not getting the wish but just falling in love the regular way, but I’m throwing it in here anyway.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at the Plaza \u003c/strong>\u003c/em>(Hallmark, 11/28, 8 pmET)\u003c/p>\n\u003cp>Jessica and Nick, who are perhaps named after countless characters from other TV romantic movies, are assigned to collaborate on a project at the Plaza Hotel, a very classy \u003cstrong>location, location, location\u003c/strong>. Features two \u003cstrong>beloved celebrities\u003c/strong>: Julia Duffy and Bruce Davison!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Staging Christmas \u003c/strong>\u003c/em>(Lifetime, 11/29, 8 pmET)\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/2Ar9rTDB9LQ'\n title='//www.youtube.com/embed/2Ar9rTDB9LQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soleil Moon Frye, known to children of the ’80s as Punky Brewster, is in this one as a woman who stages houses that people are selling. She gets a special assignment from a guy who doesn’t feel prepared to decorate his own house for Christmas but thinks his daughter would enjoy it. And then she teaches everybody the\u003cstrong> true meaning of Christmas\u003c/strong>, probably. (He is not a suit man; he is a sweater man, which is a very different man.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Evergreen: Tidings of Joy \u003c/strong>\u003c/em>(Hallmark, 11/29, 8 pmET)\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/7YYVC_QkZ28'\n title='//www.youtube.com/embed/7YYVC_QkZ28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The third film in a Hallmark franchise of sorts, this one is about Evergreen’s search for a time capsule and the \u003cstrong>grump journalist\u003c/strong> who comes to town and meets a woman just in time to be charmed by it all and \u003cstrong>help her hometown\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baking Christmas \u003c/strong>\u003c/em>(OWN, 11/29, 9 pmET)\u003c/p>\n\u003cp>The matriarch of a town bakery (the ultimate \u003cstrong>adorable small business\u003c/strong>) decides to retire, leaving her kids to participate in a \u003cstrong>high-stakes competition \u003c/strong>to determine who will take over.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Merry Liddle Christmas \u003c/strong>\u003c/em>(Lifetime, 11/30, 8 pmET)\u003c/p>\n\u003cp>Kelly Rowland stars as a woman who’s obsessed with\u003cstrong> the perfect Christmas\u003c/strong>, only to find that her family is all over the place and driving her crazy. Will she learn that the \u003cstrong>true meaning of Christmas\u003c/strong> is not about Instagram? I bet she will.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Rome \u003c/strong>\u003c/em>(Hallmark, 11/30, 8 pmET)\u003c/p>\n\u003cp>Lacey Chabert, one of our Christmas Movie Queens, plays a woman who shows around an American \u003cstrong>suit man\u003c/strong> who wants to buy a company in Rome, but suffers from \u003cstrong>missing Christmas spirit\u003c/strong> even in this tremendous \u003cstrong>location, location, location\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sense, Sensibility & Snowmen \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/30, 9 pmET)\u003c/p>\n\u003cp>“Christmas enthusiast” \u003cstrong>event planners \u003c/strong>get a client who’s a \u003cstrong>suit man \u003c/strong>and a “not-so-jolly toy company CEO.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Chalet \u003c/strong>\u003c/em>(UPTV, 12/1, 7 pmET)\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/JAdNMdwF_CU'\n title='//www.youtube.com/embed/JAdNMdwF_CU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Christmas chalet is double-booked (almost like being \u003cstrong>snowed in\u003c/strong>!), and the other person staying with a divorced mom and her daughter is a “\u003cstrong>grumpy writer\u003c/strong> who hates Christmas.” (Writer, journalist, you know.) Well, I bet he doesn’t hate Christmas for long. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>You Light Up My Christmas\u003c/strong>\u003c/em> (Lifetime, 12/1, 8 pmET)\u003c/p>\n\u003cp>Kim Fields plays a woman whose hometown was “built around her family’s pioneer Christmas Light Factory.” (Perhaps \u003cstrong>everybody cares too much about Christmas\u003c/strong>?) She needs to \u003cstrong>help her hometown \u003c/strong>and her \u003cstrong>adorable small business\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Town\u003c/strong>\u003c/em> (Hallmark, 12/1, 8 pmET)\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/RBhwO2Yt8xI'\n title='//www.youtube.com/embed/RBhwO2Yt8xI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A career woman discovers that \u003cstrong>this little town is OK\u003c/strong> when she winds up in said little town, where there is Some Dude. Stars Candance Cameron Bure, billed as “Christmas favorite Candace Cameron Bure.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ghosting: The Spirit of Christmas\u003c/strong>\u003c/em> (Freeform, 12/7 9 pmET)\u003c/p>\n\u003cp>It was probably inevitable that people would begin experimenting with what it would be like if “ghosting” happened because you were actually dead. That’s the premise of this Freeform movie about \u003cstrong>actual supernatural forces\u003c/strong>, in which a woman goes on a great date and then dies, making it difficult for her to return texts and so forth.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Prince: The Royal Baby \u003c/strong>\u003c/em>(Netflix, 12/5)\u003c/p>\n\u003cp>The \u003cstrong>royal family\u003c/strong> franchise that is following the literal “first comes love, then comes marriage, then comes Tiny in the baby carriage” rhyme reaches its third chapter. Is there anything left after this? The Royal Home Equity Loan?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Storybook Christmas\u003c/strong>\u003c/em> (Lifetime, 12/6, 8 pmET)\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/rdl4eyqlaOk'\n title='//www.youtube.com/embed/rdl4eyqlaOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An \u003cstrong>event planner\u003c/strong> hires a nanny for her niece at Christmas and THE NANNY IS A MAN. We are through the looking glass of traditional gender roles.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mistletoe and Menorahs\u003c/strong>\u003c/em> (Lifetime, 12/7, 6 pmET)\u003c/p>\n\u003cp>She has to learn about \u003cstrong>Hanukkah\u003c/strong>! He has to learn about Christmas! They’d better get busy!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Unleashed\u003c/strong>\u003c/em> (Lifetime, 12/7, 8 pmET)\u003c/p>\n\u003cp>An \u003cstrong>old flame\u003c/strong> has to help find Vanessa Lachey’s dog. Well, not Vanessa Lachey. A woman played by Vanessa Lachey. You know what I’m saying.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Love Story \u003c/strong>\u003c/em>(Hallmark [Hall Of Fame], 12/7, 8 pmET)\u003c/p>\n\u003cp>Kristin Chenoweth plays a youth choir director who meets the widowed father (Scott Wolf) of just the beautiful \u003cstrong>moppet \u003c/strong>singer she’s been looking for. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Homecoming For the Holidays \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 12/7, 9 pmET)\u003c/p>\n\u003cp>Actual Broadway performer (and winner of the reality show \u003cem>Grease: You’re The One That I Want!\u003c/em>) Laura Osnes stars as a country singer who helps a guy build a house for a friend. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Paris\u003c/strong>\u003c/em> (UPTV, 12/8, 7 pmET)\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/GSlXzW-sXFs'\n title='//www.youtube.com/embed/GSlXzW-sXFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A rich French guy comes to Montana, whisks a local woman off to Paris for Christmas, and has a secret. \u003cstrong>Location, location, location!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Dollywood \u003c/strong>\u003c/em>(Hallmark, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two people fall in love while\u003cstrong> event planning\u003c/strong>, specifically for the Christmas show at Dollywood. \u003cstrong>There’s probably music \u003c/strong>at this particular \u003cstrong>location, location, location\u003c/strong>. Features \u003cstrong>beloved celebrity \u003c/strong>Dolly Parton!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Grounded For Christmas\u003c/strong>\u003c/em> (Lifetime, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two pilots who don’t get along find their flight \u003cstrong>snowed in \u003c/strong>so they’re stuck in Cleveland. They wind up at her parents’ house, but because her ex is around, he agrees to a scheme where her family can \u003cstrong>meet her fake boyfriend\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Stars \u003c/strong>\u003c/em>(Lifetime, 12/13, 8 pmET)\u003c/p>\n\u003cp>J.T. Hodges and Erica Durance star as aspiring singers working together and maybe falling in love and there’s a \u003cstrong>high-stakes competition \u003c/strong>and \u003cstrong>there’s probably music \u003c/strong>and is this \u003cem>A Star Is Born: Christmas Edition\u003c/em> or what?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Matchmaker Christmas\u003c/strong>\u003c/em> (Lifetime, 12/14, 6 pmET)\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/dnvrP1_9zak'\n title='//www.youtube.com/embed/dnvrP1_9zak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cstrong>old flame\u003c/strong> who shows up around Christmas in this one is named Jaxson. Yyyyikes. I say don’t do it, girl.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Winter Song \u003c/strong>\u003c/em>(Lifetime, 12/14, 8 pmET)\u003c/p>\n\u003cp>Ashanti is in this one, as a woman who meets a former jazz singer named Fred, played by Stan Shaw, who’s now homeless. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Date\u003c/strong>\u003c/em> (Hallmark, 12/14, 8 pmET)\u003c/p>\n\u003cp>Brooke brings an actor home to have her family \u003cstrong>meet her fake boyfriend\u003c/strong> over the holidays, something many many romcom characters have tried. And then she learns he’s Jewish and celebrates \u003cstrong>Hanukkah\u003c/strong>. \u003cstrong>Beloved celebrity \u003c/strong>Bruce Boxleitner!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Snowbound for Christmas \u003c/strong>\u003c/em>(UPTV, 12/15, 7 pmET)\u003c/p>\n\u003cp>This is actually based on a novella that I have read, by the terrific romance writer Shannon Stacey! (It was called \u003cem>Snowbound with the CEO.\u003c/em>) A boss brings his marketing executive to a pitch that will take place at a resort, and they are \u003cstrong>snowed in\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rediscovering Christmas \u003c/strong>\u003c/em>(Lifetime, 12/15, 8 pmET)\u003c/p>\n\u003cp>Mia the big-city window dresser has to come back to \u003cstrong>help her hometown\u003c/strong> to help with the annual Snowflake festival!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Cheerful Christmas\u003c/strong>\u003c/em> (Hallmark, 12/15, 8 pmET)\u003c/p>\n\u003cp>A woman is hired as the “Christmas coach” to restore the \u003cstrong>missing Christmas spirit \u003c/strong>of someone who is somehow both a member of a \u003cstrong>royal family\u003c/strong> and a \u003cstrong>suit man\u003c/strong> at a company.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Temp \u003c/strong>\u003c/em>(Lifetime, 12/20, 8 pmET)\u003c/p>\n\u003cp>There is a “Christmas temp agency” in this movie because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and it has an HR manager for whom the titular Christmas Temp has “feelings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Love Letter \u003c/strong>\u003c/em>(Lifetime, 12/21, 6 pmET)\u003c/p>\n\u003cp>A relationship advice columnist goes back home to figure out who wrote her an anonymous love letter. Information is limited, but based on the promotional photo, I can add \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Hotel \u003c/strong>\u003c/em>(Lifetime, 12/21, 8 pmET)\u003c/p>\n\u003cp>Garland Grove (where this takes place) is all about Christmas 12 months a year, making it the ultimate \u003cstrong>everybody cares too much about Christmas \u003c/strong>situation. Erin (Tatyana Ali) is in charge of developing a new hotel and \u003cstrong>help her hometown\u003c/strong>, so she makes it a Christmas Hotel to please the locals. Her \u003cstrong>old flame \u003c/strong>helps her find her \u003cstrong>missing Christmas spirit\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>It’s Beginning to Look a Lot Like Christmas\u003c/strong>\u003c/em> (Hallmark, 12/21, 8 pmET)\u003c/p>\n\u003cp>No description except a photo of a man in a sweater looking hopefully upward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Wedding Runaway\u003c/strong>\u003c/em> (UPTV, 12/22, 7 pmET)\u003c/p>\n\u003cp>A soon-to-be bride is \u003cstrong>snowed in\u003c/strong> with her Grandma and an \u003cstrong>old flame\u003c/strong>. In the promotional photo, one guy is wearing glasses and a suit and the other guy is scruffy with a flannel shirt, so I’m pretty sure the flannel shirt guy will win, even on UPTV.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Double Holiday\u003c/strong>\u003c/em> (Hallmark, 12/22, 8 pmET)\u003c/p>\n\u003cp>Rebecca, who celebrates \u003cstrong>Hanukkah\u003c/strong>, is thrown together with Chris, who celebrates Christmas, to carry out some \u003cstrong>event planning\u003c/strong> around the office holiday party. Naturally they fall in love, even though they’re \u003cstrong>professional competitors\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Date By Christmas Eve \u003c/strong>\u003c/em>(Lifetime, 12/22, 8 pmET)\u003c/p>\n\u003cp>A woman gets magical powers from the \u003cstrong>actual supernatural forces \u003c/strong>within a dating app and accidentally adds her kindly neighbor to the naughty list, and do not get me started.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baby in a Manger \u003c/strong>\u003c/em>(UPTV, 12/24, 7 pmET)\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/UqM_QMFOHkg'\n title='//www.youtube.com/embed/UqM_QMFOHkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Someone has abandoned a baby in a nativity scene (a little on the nose), so a social worker and a police officer work to find the baby’s mother. I can’t even figure out what they want you to root for!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>New Year, New Me \u003c/strong>\u003c/em>(Hallmark, 12/28, 8 pmET)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Netflix announced Helena Bonham Carter would be taking on the role of Princess Margaret in season three of \u003cem>The Crown\u003c/em>, the casting seemed totally apt. Though generations apart, both Bonham Carter and Queen Elizabeth II’s little sister are known for their aristocratic dialects, rebellious spirits and fearlessly direct personalities.\u003c/p>\n\u003cp>It makes sense then, that Bonham Carter would want to consult with Princess Margaret before taking over the role in this hugely popular historical drama. The only problem is Princess Margaret died in 2002, after suffering several years of ill health and multiple strokes.\u003c/p>\n\u003cp>Under the circumstances, other actors would no doubt settle for hours of research and long conversations with the deceased’s loved ones. Bonham Carter \u003cem>was\u003c/em> careful to consult with relatives, friends and ladies-in-waiting, as well as reading all the biographies she could get her hands on, but—naturally for one so goth—she refused to limit her investigations to this mortal plane.\u003c/p>\n\u003cp>In addition to consulting a graphologist (to analyze Margaret’s handwriting) \u003ci>and\u003c/i> an astrologer, Bonham Carter reached out to a psychic medium. During an appearance at England’s Cheltenham literature festival over the weekend, \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/06/helena-bonham-carter-sought-princess-margaret-blessing-through-psychic-the-crown\" target=\"_blank\" rel=\"noopener\">she explained\u003c/a> that the spirit purporting to be Princess Margaret had a very similar attitude to the royal:\u003c/p>\n\u003cblockquote>\u003cp>“She said, apparently, she was glad it was me… So I asked her: ‘Are you okay with me playing you?’ and she said: ‘You’re better than the other actress’… That made me think maybe she is here, because that is a classic Margaret thing to say. She was really good at complimenting you and putting you down at the same time… Then she said: ‘But you’re going to have to brush up and be more groomed and neater.’ Then she said: ‘Get the smoking right. I smoked in a very particular way. Remember that—this is a big note—the cigarette holder was as much a weapon for expression as it was for smoking.’”\u003c/p>\u003c/blockquote>\n\u003cp>Remarkably, the actress met Margaret several times when she was still alive, thanks to the fact that her uncle, Mark Bonham Carter, dated the princess when he was a Grenadier Guard at the royal Windsor estate. On one occasion, she recalls Princess Margaret saying to her, “Oh Helena… You are getting better at acting, aren’t you?”\u003c/p>\n\u003cp>Given that Bonham Carter will be playing Margaret for another two seasons, spanning the years of the princess’s life in which she partied around the globe, accidentally overdosed on sleeping pills and is alleged to have had multiple affairs (with the likes of \u003ca href=\"https://www.womanandhome.com/life/news-entertainment/princess-margaret-90882/\" target=\"_blank\" rel=\"noopener\">Warren Beatty\u003c/a>!), one can only hope that Margaret continues to approve from beyond the grave.\u003c/p>\n\u003cp>\u003cem>Season 3 of ‘The Crown’ hits Netflix on Nov. 17.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QTIkUzkbzQk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new series \u003cem>Unbelievable\u003c/em> on Netflix tells the true story of a woman named Marie, who was raped when she was 18.\u003c/p>\n\u003cp>Instead of investigating the rape, the police investigated her. The man who assaulted Marie went on to rape several more women.\u003c/p>\n\u003cp>The story was \u003ca href=\"https://www.propublica.org/article/false-rape-accusations-an-unbelievable-story\">the subject of a blockbuster investigation\u003c/a> from ProPublica and The Marshall Project. It won a Pulitzer Prize in 2016.\u003c/p>\n\u003cp>In the Netflix version, Marie is played by actress Kaitlyn Dever. She took a star turn in the high school romp \u003cem>Booksmart\u003c/em> earlier this year, but in \u003cem>Unbelievable\u003c/em>, she puts away comedy in favor of an understated, raw performance. There’s little dialogue, lots of emotion.\u003c/p>\n\u003cp>In an interview, Dever said it was the “most challenging project” she’d ever done.\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/QTIkUzkbzQk'\n title='//www.youtube.com/embed/QTIkUzkbzQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how she prepared for the role\u003c/strong>\u003c/p>\n\u003cp>What was so important for me, in the process of creating her: I read in all these little [news] clippings I was able to read … and she referenced this on-and-off switch that she would use when she was in her lowest, lowest point. She could just almost turn it off, like a switch. Knowing that, I knew: okay, this was a very, very brave and strong woman that I’m playing. …\u003c/p>\n\u003cp>It’s something that I really thought of during and after, ’cause this kind of thing never leaves a person. And while it was very difficult for me to do, shooting-wise—you know, playing this character every day—it doesn’t even compare to what these women have gone through in real life.\u003c/p>\n\u003cp>\u003cstrong>On any personal experiences she drew on for the role\u003c/strong>\u003c/p>\n\u003cp>As a woman, as a young woman, I think we all have those small moments—not feeling heard or not feeling you have a voice. But I’ve never experienced anything to the degree that Marie has experienced. And I think that also, being a woman, if you haven’t had that experience yourself, you probably also know someone who has had that experience—someone that is close to you or someone that you love. I was sort of just taking all of that with me.\u003c/p>\n\u003cp>\u003cstrong>On what drew her to \u003c/strong>\u003cstrong>\u003cem>Booksmart\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I fell in love with it. I fell in love with these two girls. I fell in love with this story that I had never really seen on screen before. Two girls that are just so smart, and they know they’re so smart, and they’re not afraid to tell people that, and show people. But they’re also funny and gross and weird and silly together, and so honest and open with each other. So that was so exciting to me. Also, getting to lead a film in a comedy—I think that for young women, that doesn’t come around too often. … I’m just so happy to be a part of something so special like it.\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/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On being attracted to roles that represent young women\u003c/strong>\u003c/p>\n\u003cp>I feel like as I’ve gotten older, I do want to really be a part of projects that I know are going to be really important and inspiring for young women. Already, the response that I’ve been getting from \u003ca href=\"https://www.kqed.org/pop/112069/booksmart-is-a-buddy-movie-party-flick-and-heartfelt-ode-to-girls\" target=\"_blank\" rel=\"noopener\">\u003cem>Booksmart\u003c/em>\u003c/a> has just been so inspiring, and honestly, just reminds me of why I wanted to be an actress in the first place. And the same thing with \u003cem>Unbelievable\u003c/em>. …\u003c/p>\n\u003cp>I realized this just a couple of weeks ago, that I really can’t sit still. And if I were to be myself for the rest of my life, I don’t think I could handle it. … I love being myself in my day-to-day life, but if I had to do it forever, I don’t know if I could. I just have this itch to play different people, and say other people’s words, and shedding light on stories that were never heard. Like with \u003cem>Booksmart\u003c/em>—I’m playing a queer girl in a leading role of this movie and the reaction I got playing that role was so inspiring to me. I had girls coming up to me saying: Being a queer woman, growing up, I had to seek out representation at small, small, indie theaters. And now I got to play a girl like Amy, and that role was seen on many screens all across the world. … That to me is really, really inspiring, and I want to continue to be a part of projects that really move the needle forward in that way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna Bolaños and Jolie Myers produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marie%27s+Rape+Was+Deemed+%27Unbelievable.%27+Kaitlyn+Dever+Portrays+Her+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland's Troubles",
"headTitle": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland’s Troubles | KQED",
"content": "\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UFmFuXH0IRY\u003c/p>\n\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P937Lic52NY\u003c/p>\n\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\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=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\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/UFmFuXH0IRY'\n title='//www.youtube.com/embed/UFmFuXH0IRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\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/P937Lic52NY'\n title='//www.youtube.com/embed/P937Lic52NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\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=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sacha Baron Cohen on 'The Spy,' Going Undercover and the Question of Identity",
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"content": "\u003cp>The actor and comedian Sacha Baron Cohen has a childhood memory: In his family’s living room in London, there sat a book called \u003cem>Our Man in Damascus\u003c/em>.\u003c/p>\n\u003cp>It’s a non-fiction account of an Israeli spy who infiltrated Israel’s enemy, Syria, in the 1960s. Eli Cohen was publicly executed, but not before he obtained vital military secrets.\u003c/p>\n\u003cp>Sacha Baron Cohen now plays Eli Cohen in \u003cem>The Spy\u003c/em>, a Netflix series that dramatizes that true story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UijUOy0MmE\u003c/p>\n\u003cp>“Partly what attracted me was: His acting skills rivaled those of [method actor] Daniel Day-Lewis,” Sacha Baron Cohen says in an interview with Steve Inskeep. “He was playing the role of a multi-millionaire businessman who’d been brought up in Argentina from Syrian descent, and maintained that persona for many, many years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one early scene, the character even appears to briefly forget his real name.\u003c/p>\n\u003cp>“I’ve always been intrigued by this question of identity—how people identify themselves,” Baron Cohen says. “And for Eli Cohen, he had these two different lives. He was an Israeli second-class citizen living in poverty, and he was also, when he was undercover, a wealthy Syrian.\u003c/p>\n\u003cp>“So the question of identity, and who you really are, and people who are questioning their own identity or unaware of the irony of their identity—I mean, take for example a character that I first created 20 years ago, Ali G, who’s a white middle-class youth from a suburb in London but who identifies as an African-American gangsta rapper. When he says, ‘Is it ’cause I is black?’ when he’s not, we laugh. But in the case of Eli Cohen, that question of identity, we suspect, and I played him, as that leading to incredible turmoil.”\u003c/p>\n\u003cp>Sacha Baron Cohen can relate to going undercover. He’s famous for playing Borat, a fictional Kazakh man who was filmed while interviewing unsuspecting real-life Americans, documentary-style. Before that there was \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3613548\">Ali G, the dim-witted “hip-hop journalist”\u003c/a>; after that, the flamboyantly gay Austrian named Brüno.\u003c/p>\n\u003cp>“What I try and do when I’m in character is to read the other person,” Baron Cohen says. “If they’re suspicious, they squint their eyes, they look you up and down. Part of what I’m doing is: I’m acting, but I’m also observing the other person to see if they are suspicious or… if they feel calm. And if they’re suspicious, then I back down. I won’t say anything funny for a while, and I’ll try and go deeper into character. And if they’re not suspicious, then I take more risks.”\u003c/p>\n\u003cp>For the 2018 series \u003cem>Who Is America?\u003c/em> he invented multiple characters, which he used to make satirical proposals to unsuspecting Americans. One of his characters was an Israeli soldier—who landed an interview with former Vice President Dick Cheney. That presented a special challenge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DmUnUoeLSIM\u003c/p>\n\u003cp>“Dick Cheney may be many things, but he’s not an idiot,” Baron Cohen says. “And so when I first sat down with him, his main intention was to find out whether I was legitimate or not. And so he asked me to chronicle my military history.”\u003c/p>\n\u003cp>Luckily for Baron Cohen, he had a meeting with a real-life Israeli soldier right before the interview.\u003c/p>\n\u003cp>“And so I said to this guy, I said, ‘Listen, I want you to tell me about your military history,'” Baron Cohen says. “And this man said to me, he goes: [affecting an accent] ‘OK. At the age of 7, I went to school. I had a lunch box in one hand and a gas mask in the other. And at that point I realized I wanted to be a soldier.’\u003c/p>\n\u003cp>“And then cut to an hour later. Dick Cheney comes in the room, and he says, ‘Listen, before we start this interview, tell me about your military history.’ And I said: [in character] ‘Vice President Cheney, at the age of 7, I went to school with a gas mask in one hand and the lunchbox in the other. And that’s when I realized I wanted to be a soldier.'”\u003c/p>\n\u003cp>Though the satirical characters have brought him fame, Baron Cohen says he’s “tried very hard” to not become a celebrity. For many years, he refused to give interviews as himself.\u003c/p>\n\u003cp>“It was actually a fantastic life,” he says. “I remember being dressed as a character I did called Borat, standing in HMV—which was the biggest record and DVD shop in London—next to the stand selling videos of Ali G. And so I was surrounded by fans of Ali G and me, and I was dressed as Borat, and nobody knew it was me. And for me that was the real pleasure.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/757589198/757803910\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Arezou Rezvani produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacha+Baron+Cohen+Goes+Undercover+Again+%E2%80%94+But+Not+For+Laughs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor and comedian Sacha Baron Cohen has a childhood memory: In his family’s living room in London, there sat a book called \u003cem>Our Man in Damascus\u003c/em>.\u003c/p>\n\u003cp>It’s a non-fiction account of an Israeli spy who infiltrated Israel’s enemy, Syria, in the 1960s. Eli Cohen was publicly executed, but not before he obtained vital military secrets.\u003c/p>\n\u003cp>Sacha Baron Cohen now plays Eli Cohen in \u003cem>The Spy\u003c/em>, a Netflix series that dramatizes that true story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5UijUOy0MmE'\n title='//www.youtube.com/embed/5UijUOy0MmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Partly what attracted me was: His acting skills rivaled those of [method actor] Daniel Day-Lewis,” Sacha Baron Cohen says in an interview with Steve Inskeep. “He was playing the role of a multi-millionaire businessman who’d been brought up in Argentina from Syrian descent, and maintained that persona for many, many years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one early scene, the character even appears to briefly forget his real name.\u003c/p>\n\u003cp>“I’ve always been intrigued by this question of identity—how people identify themselves,” Baron Cohen says. “And for Eli Cohen, he had these two different lives. He was an Israeli second-class citizen living in poverty, and he was also, when he was undercover, a wealthy Syrian.\u003c/p>\n\u003cp>“So the question of identity, and who you really are, and people who are questioning their own identity or unaware of the irony of their identity—I mean, take for example a character that I first created 20 years ago, Ali G, who’s a white middle-class youth from a suburb in London but who identifies as an African-American gangsta rapper. When he says, ‘Is it ’cause I is black?’ when he’s not, we laugh. But in the case of Eli Cohen, that question of identity, we suspect, and I played him, as that leading to incredible turmoil.”\u003c/p>\n\u003cp>Sacha Baron Cohen can relate to going undercover. He’s famous for playing Borat, a fictional Kazakh man who was filmed while interviewing unsuspecting real-life Americans, documentary-style. Before that there was \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3613548\">Ali G, the dim-witted “hip-hop journalist”\u003c/a>; after that, the flamboyantly gay Austrian named Brüno.\u003c/p>\n\u003cp>“What I try and do when I’m in character is to read the other person,” Baron Cohen says. “If they’re suspicious, they squint their eyes, they look you up and down. Part of what I’m doing is: I’m acting, but I’m also observing the other person to see if they are suspicious or… if they feel calm. And if they’re suspicious, then I back down. I won’t say anything funny for a while, and I’ll try and go deeper into character. And if they’re not suspicious, then I take more risks.”\u003c/p>\n\u003cp>For the 2018 series \u003cem>Who Is America?\u003c/em> he invented multiple characters, which he used to make satirical proposals to unsuspecting Americans. One of his characters was an Israeli soldier—who landed an interview with former Vice President Dick Cheney. That presented a special challenge.\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/DmUnUoeLSIM'\n title='//www.youtube.com/embed/DmUnUoeLSIM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Dick Cheney may be many things, but he’s not an idiot,” Baron Cohen says. “And so when I first sat down with him, his main intention was to find out whether I was legitimate or not. And so he asked me to chronicle my military history.”\u003c/p>\n\u003cp>Luckily for Baron Cohen, he had a meeting with a real-life Israeli soldier right before the interview.\u003c/p>\n\u003cp>“And so I said to this guy, I said, ‘Listen, I want you to tell me about your military history,'” Baron Cohen says. “And this man said to me, he goes: [affecting an accent] ‘OK. At the age of 7, I went to school. I had a lunch box in one hand and a gas mask in the other. And at that point I realized I wanted to be a soldier.’\u003c/p>\n\u003cp>“And then cut to an hour later. Dick Cheney comes in the room, and he says, ‘Listen, before we start this interview, tell me about your military history.’ And I said: [in character] ‘Vice President Cheney, at the age of 7, I went to school with a gas mask in one hand and the lunchbox in the other. And that’s when I realized I wanted to be a soldier.'”\u003c/p>\n\u003cp>Though the satirical characters have brought him fame, Baron Cohen says he’s “tried very hard” to not become a celebrity. For many years, he refused to give interviews as himself.\u003c/p>\n\u003cp>“It was actually a fantastic life,” he says. “I remember being dressed as a character I did called Borat, standing in HMV—which was the biggest record and DVD shop in London—next to the stand selling videos of Ali G. And so I was surrounded by fans of Ali G and me, and I was dressed as Borat, and nobody knew it was me. And for me that was the real pleasure.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/757589198/757803910\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Arezou Rezvani produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacha+Baron+Cohen+Goes+Undercover+Again+%E2%80%94+But+Not+For+Laughs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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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"content": "\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o47CwiJLpes\u003c/p>\n\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2hhcoUnzMZw\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janet Mock remembers when she saw the documentary \u003cem>Paris is Burning\u003c/em> for the first time. She was in 10th grade, living in Hawaii, and had already socially transitioned her gender identity. She was about to embark on her medical transition. \u003c/p>\n\u003cp>“My friend had a VHS that she got from another friend,” Mock says. “It was kind of like this little magic ticket that was passed down to a bunch of us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/therecord/2012/04/23/151218475/the-music-and-meaning-of-paris-is-burning\">Jennie Livingston’s 1990 film\u003c/a> focuses on the gay and transgender drag performers in the underground ball culture in New York City. “It was one of the first times that I got to see people who looked like me, and who represented me and my community, be the centerpiece of a narrative,” Mock says. “I felt so seen for one of the very first times in my life.”\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/o47CwiJLpes'\n title='//www.youtube.com/embed/o47CwiJLpes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same ball culture she saw in\u003cem> Paris is Burning \u003c/em>would come up again in her career, decades later. After launching a career in journalism, writing two memoirs and becoming a trans activist, Mock made history as the first trans woman of color to write and direct an episode of TV when she joined the production of Ryan Murphy’s series\u003cem> Pose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FX series, now in its second season, tells the story of LGBTQ youth in the 1980s and ’90s ball scene—a community mostly populated by black and Latinx people—and the “houses,” or chosen families, that they create as a mechanism for survival.\u003c/p>\n\u003cp>“The fact that I get to go on set and supervise production, write scripts, direct … it’s astounding,” Mock says. “I watch the monitors sometimes … with tears in my eyes, realizing that these were the sort of stories that I was craving as a young person. There’s no over-explaining of our experiences. … It’s just: ‘Welcome to our world.'”\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/2hhcoUnzMZw'\n title='//www.youtube.com/embed/2hhcoUnzMZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On ball culture \u003c/strong>\u003c/p>\n\u003cp>The ball culture is a space started in uptown Manhattan, in Harlem. It was created by a group of black trans women and drag queens who were tired of being pushed out of white drag spaces, where they kept on being upstaged and not given titles. The titles were favored to white queens, white queens who embodied Western culture’s idea of beauty and femininity more than the black and brown queens did. So Crystal LaBeija created the scene, and it has become this kind of community space—one where a lot of orphaned people, homeless folk, trans and queer people gather together in houses. … They go into a ballroom—which can be a gym, a recreational center, a YMCA, a theater that they rent out—for an evening to compete in categories, such as “realness,” such as “runway,” such as “vogue,” and they get to live out their fantasies with one another and celebrate one another.\u003c/p>\n\u003cp>\u003cstrong>On “houses,” or chosen families within the ball community \u003c/strong>\u003c/p>\n\u003cp>There’s often a mother and a father who is the head of the household, who takes in kids, takes in young people, takes in queer folk who’ve been rejected by their own families and takes care of them. [They offer] them food, shelter, clothing, life experiences, advice … It’s the idea of chosen family, which LGBTQ folk know all too well, for their own survival. Chosen family is one [idea] that our show definitely centers and celebrates. It’s all about the mothers who take in these children after themselves being pushed out of their own homes. They create new networks of survival, of creativity, of love and sustenance, that enables young folk to blossom in the absence of not having their birth families oftentimes supporting and truly affirming and loving them.\u003c/p>\n\u003cp>\u003cstrong>On using \u003c/strong>\u003cstrong>\u003cem>Pose \u003c/em>\u003c/strong>\u003cstrong>characters to say things she hasn’t been bold enough to say herself\u003c/strong>\u003c/p>\n\u003cp>Part of my public work is talking about my life experiences and what I’ve gone through. I’ve been very transparent about my struggles with my body, and with a society that is constantly trying to contain me and label me and define me. I’ve spent my entire youth and life fighting against that. And so one of the great gifts of writing for television and writing for these characters is [they can say] all the things that I may not have been bold enough to say—say in an interview or at a dinner party when someone finds out that I’m trans, or [when] I bring it up in my work, and they’re astounded and they start asking all of these strange, invasive questions … The things that I’ve had to do medically to my body don’t define me. They’re the least interesting things about me. The fact that they’re the most sensational things for you, as a non-trans person, as a cis person, I think says a lot about how we’ve framed trans people as these objects of dissection, of modern-day freak shows in a way.\u003c/p>\n\u003cp>\u003cstrong>On doing sex work as a young person to pay for her transition surgery\u003c/strong>\u003c/p>\n\u003cp>My experiences in the sex trades and in sex work [are] so deeply complicated. I was introduced to it first just as a hangout spot. Merchant Street is a street in Honolulu, Hawaii in downtown Honolulu … when I was 15 years old, I went for the first time. I went dressed up with my friends; we hung out with older girls, and when I say older girls I was 15 and some of them were 18 to 25, but they were light-years ahead of us in terms of their identities and their own transitions, of their confidence in their bodies, of proclaiming themselves to themselves and to one another. It was deeply a space of sisterhood and socializing for me. … I was so naive. I went very much with my student government and National Honor Society hat on, thinking, “I could never do what these women are doing. I could never sell my body. I could never have sex with men in the backseats that their cars.”\u003c/p>\n\u003cp>And I remember, maybe a year later, a car pulled over for me … and one of my friends said, “He wants to take you on a date,” and I was like, “What does he want me to do?” and she was like, “He will pay you $60 if [you] did a sexual act with him.” And all I thought was $60, wow. What I could do with $60. I could pay for two months of my Premarin [hormone] pills. I could buy myself clothes that my mom can’t afford. I could buy spam musubis in the morning from 7-Eleven. For a poor kid, a poor trans kid, a poor trans kid of color, that $60 was a great way of taking care of myself, and so I thought about it in [terms of] survival. I thought, “Oh, I have an asset in this world. I have my identity and I have my body, and I can use my body as an asset to take care of myself in this world.” I no longer felt as poor. … I no longer felt as if I had no resources, and so for me, at that time period as that 16-year-old, it felt incredibly powerful. I felt empowered.\u003c/p>\n\u003cp>As the 36-year-old woman, 20 years removed from that, I look at it with great complication. I look at it with a deep sadness, a deep sadness that that was her only option to take care of herself.\u003c/p>\n\u003cp>\u003cstrong>On continuing to do sex work after being robbed and beaten by a john\u003c/strong>\u003c/p>\n\u003cp>I wish that I could say it scared me straight. It did not. Survival was all too loud of a siren for me. At that point I had just been a few thousand dollars away from saving for my sex reassignment. What I did do is that I no longer took risks. I no longer went in cars with new clients. I always made sure that I had references from other girls, who had … worked with those clients before. And I doubled down on working with regulars only. And so in that way, I made sure that I took care of myself and took greater precautions.\u003c/p>\n\u003cp>It’s one of the reasons why it’s so vital that we don’t criminalize sex workers, because all it does is pushes them to make to take greater risks. When there are no longer clients who they’re safe to be with, when they no longer have that Rolodex, they have to take greater risks to be with clients who are not safe, who do drugs, who are violent. And so I think for me, at that time period, I just—I buckled down and I just try to take greater precautions.\u003c/p>\n\u003cp>\u003cstrong>On expressing her true self for the first time\u003c/strong>\u003c/p>\n\u003cp>I was in the 7th grade. I was dressed up in a black-and-white checkered halter top and bell bottoms, platform heels that I borrowed from my best friend Wendy, who was also a trans girl that I grew up with, and her short Toni-Braxton-bobbed wig. I felt so pretty. … We performed as the Spice Girls. … I just remember us being applauded, and being celebrated. And for me, those are things that I wish I had more of growing up.\u003c/p>\n\u003cp>I wish that when I walked down the halls in my high school, that I wasn’t always just gawked at and jeered at, that I was cheered on, that teachers called me by my chosen name, that they didn’t misgender me and that they didn’t send me to the principal’s office when I wore a skirt, that instead I was allowed to just sit in the room like another student and learn. But instead, oftentimes my identity became a barrier for people to see that I was just a student, that I was just a young person, that I was just trying to make a way for myself and to claim space.\u003c/p>\n\u003cp>\u003cstrong>On how she handles her many projects (\u003c/strong>\u003cstrong>\u003cem>Pose\u003c/em>\u003c/strong>\u003cstrong>, a Netflix deal, and a new Ryan Murphy series called \u003c/strong>\u003cstrong>\u003cem>Hollywood\u003c/em>\u003c/strong>\u003cstrong>) and how she’s always had great energy and focus\u003c/strong>\u003c/p>\n\u003cp>I think for me, my first project or production of sorts was myself. I had to work hard and sacrifice a lot to be able to be who I am. And that was … probably the biggest obstacle that I had to overcome. I overcame that at 16 years old, and by 18 I had achieved my goal of medical transition, which to me at that time was the first thing I knew I needed in order to move on—to move on from my issues with my body, to move on with issues with my gender, to move on with issues with my community and my family and a whole society and culture that was telling me that I did not belong and who I was was wrong.\u003c/p>\n\u003cp>Once I was able to conquer that, I was then able to do the next steps, which was to move beyond myself and figure out what I actually wanted to do. I wanted to be a writer. I wanted to tell the truth. I wanted to tell stories.\u003c/p>\n\u003cp>And so for me, the first story I had to tell after being properly credentialed, which was going to NYU for a master’s degree, working at some of the top publishing houses there [were], and then to get a book deal to tell my story. I was the first trans woman of color to have a mainstream book deal to tell the perspective of a transition from a young [person’s] point of view. And once I conquer that, my story was out in the world. … I was able to sit next to Oprah [on] \u003cem>SuperSoul Sunday\u003c/em> and have her ask me questions about my life, which I never thought that I would be able to have. I was able to step on stage at the Women’s March on Washington to resist an incoming administration that was looking to silence us. I was able to have my book reach the hands of my dear friend and mentor now, Ryan Murphy, who has enabled me to tell stories on a bigger platform. And now with this Netflix deal, I’m just energized. I’m energized to continue to tell stories that matter to me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Pose%2C%27+Janet+Mock+Tells+The+Stories+She+Craved+As+A+Young+Trans+Person&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Secret Obsession': Six Unforgettable Lessons From Netflix's Imperiled Amnesiac",
"headTitle": "‘Secret Obsession’: Six Unforgettable Lessons From Netflix’s Imperiled Amnesiac | KQED",
"content": "\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nc6loZU3kjQ\u003c/p>\n\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix has been going through all the cable TV genres and trying to elbow its way into them, one at a time. Hallmark movies, Nat Geo Wild vet shows, Food Network food competitions, comedy specials, travel specials … it makes sense that here, they’re right in the heart of Imperiled Lady Theater. This is a pretty bad movie, but it seems to be bad in the way it’s meant to be bad. It’s cheerfully trashy, and if that’s up your alley, have at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Secret+Obsession%27%3A+Six+Unforgettable+Lessons+From+Netflix%27s+Imperiled+Amnesiac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Brenda Song stars in Netflix's version of the Woman In Danger thriller, in which she is sent home with a stranger by the worst hospital in the world. Unintentional hilarity ensues.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\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/Nc6loZU3kjQ'\n title='//www.youtube.com/embed/Nc6loZU3kjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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