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"content": "\u003cp>There is a moment in the new Netflix thriller \u003cem>Beckett\u003c/em> in which the main character played by John David Washington—who’s already been in a rollover accident, been shot, been tased, been stung by bees, and likely broken both of his ankles—gets flex cuffs slapped on him, and now he’s on the run … in flex cuffs. The movie isn’t even half over.\u003c/p>\n\u003cp>You already know a lot about how you’ll feel about \u003cem>Beckett\u003c/em> by how much this description makes you roll your eyes, versus shout “hooray!”, versus a little bit of both. \u003cem>Beckett \u003c/em>is listed as Netflix’s number one film as of this writing, and yet there’s little buzz around it. And that may be because of how precisely it meets the requirements of a movie of its type without ever meaningfully exceeding any expectation you might have.\u003c/p>\n\u003cp>[aside postid='arts_13901046']And yet, I found myself coming down (gently) in the positive column on a film that, perhaps inevitably, has a \u003ca href=\"https://www.metacritic.com/movie/beckett/critic-reviews\" target=\"_blank\" rel=\"noopener noreferrer\">51 percent positive rating\u003c/a> over on the review aggregator site Metacritic. I must confess: I just love a movie where a guy cannot catch a break. These cascading problems that become more and more ridiculous are the bread and butter of what you might call the For Heaven’s Sake, What Now? genre. There’s a little bit of this in movies like \u003cem>Die Hard \u003c/em>(with the bare feet) and \u003cem>Speed \u003c/em>(when Keanu Reeves stabs the gas tank with the screwdriver), but in a film like \u003cem>Beckett\u003c/em>, it’s the whole story. This movie doesn’t actually have Beckett come down with scurvy and have him run over by the tuba section of a marching band on his way to a safe house that turns out to be haunted, but that’s only because there’s not time. Directed by Ferdinando Cito Filomarino, \u003cem>Beckett \u003c/em>is a movie about a guy who cannot catch a break—unless it’s a break of his own arm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPT_PNucTWE\u003c/p>\n\u003cp>Washington plays Beckett (just Beckett), an American on vacation in Greece with his girlfriend (played by Alicia Vikander, but don’t get too excited, because it’s a small role). They get in a terrible car accident, and once Beckett gets out of the hospital, he realizes that people are chasing him, and they are shooting at him, and he has no idea who they are or why they’re doing all this. One can certainly understand how it would be unsettling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The police quickly prove untrustworthy, so Beckett gets it in his head that what he needs to do is get to the U.S. Embassy in Athens. It’s important to set this goal, because one of the problems with on-the-run movies is always the question of where the on-the-run person is trying to get to, and what they think they’re going to do when they arrive. Every obstacle course needs a finish line.\u003c/p>\n\u003cp>[aside postid='arts_13901157']Regrettably, \u003cem>Beckett \u003c/em>does run into the same problem as a lot of films with fun beginnings shrouded in mystery: It has to eventually answer the question of what the heck is going on. What they’re going for here is (as critic Walter Chaw noted when we spoke about the film this week for Pop Culture Happy Hour) is the feeling of a larger conspiracy clamping down on Beckett, like you’d find in a 1970s paranoid thriller. But here, the more the film reveals about those menacing forces, the more it gets bogged down in a lot of only halfway considered material about Greek politics and American diplomacy. The final action set piece is fully ridiculous and poorly paced, particularly in contrast to the fairly straightforward chases of what happens earlier on, and by the end, the idea of Beckett as an everyman has been discarded in favor of the idea of Beckett as a superhero who manages some highly, highly unlikely feats of physics that the Beckett of a day or so earlier would never have even attempted.\u003c/p>\n\u003cp>The whole thing feels strangely conceived, and one hint about why might come from the press materials in which Filomarino says that what inspired this movie was other movies—other “manhunt” type films, only he wanted to try one where the protagonist was more of an ordinary person. It’s not unusual to be inspired by other kinds of storytelling, obviously—that’s the heart and soul of genre, and had they resisted the urge to make Beckett quite so bulletproof and quite so acrobatic, it might have paid off better.\u003c/p>\n\u003cp>But \u003cem>Beckett \u003c/em>feels like perhaps the central story is underbaked because it originated not with an idea about a person, but with an idea about film, and then the task of building the story itself wasn’t quite finished with the polish it needed. That might explain, too, the oddly inert supporting characters: Vicky Krieps shows up in an underdeveloped role as a local activist, for instance, and it’s hard not to wish she had a lot more to do.\u003c/p>\n\u003cp>This kind of movie makes me think, I admit, of \u003cem>The Great British Baking Show\u003c/em>. Sometimes, someone will make, say, a lemon cake. The the judges eat it and they announce, basically, “It’s fine. I don’t know that it’s great, or that it’s very exciting, but it’s fine.” This is not quite a ringing endorsement in the middle of a competition, but in fairness, what the person has made is still a lemon cake. And if you were in the mood for a lemon cake, then the fact that it’s not the best lemon cake you’ve ever had may be something you would not focus on, were it sitting in front of you at home. “I believe I would eat that lemon cake” is a thought you may well find yourself having.\u003c/p>\n\u003cp>\u003cem>Beckett\u003c/em> is a bit of a lemon cake.\u003c/p>\n\u003cp>On the plus side, it benefits from beautiful scenery as Beckett runs around Greece, up city streets and over mountains. It benefits from Washington having quite a natural regular-guy presence, in which he often seems overwhelmed, especially at the beginning. And it benefits from the audacious pile-up of challenges with which Beckett is faced.\u003c/p>\n\u003cp>[aside postid='arts_13900910']But it could certainly be much better were it a tighter story with a more efficiently built puzzle at its center. There is a big difference, after all, between being able to \u003cem>forgive\u003c/em> the flaws in a movie because it meets the basic requirements of its category and thinking there is \u003cem>no meaningful distinction\u003c/em> between a good and bad movie like this, simply because it belongs to the popular genre known as the action thriller.\u003c/p>\n\u003cp>It could be a lot better. It could be a lot stronger as it approaches the finish. But there’s something to be said for watching a guy hide in a car trunk and think, “For him, this is probably the best part of his day.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel is Linda Holmes and Walter Chaw. The audio was produced and edited by Mike Katzif.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beckett%27+Is+A+Perfectly+Average+Chase+Thriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet, I found myself coming down (gently) in the positive column on a film that, perhaps inevitably, has a \u003ca href=\"https://www.metacritic.com/movie/beckett/critic-reviews\" target=\"_blank\" rel=\"noopener noreferrer\">51 percent positive rating\u003c/a> over on the review aggregator site Metacritic. I must confess: I just love a movie where a guy cannot catch a break. These cascading problems that become more and more ridiculous are the bread and butter of what you might call the For Heaven’s Sake, What Now? genre. There’s a little bit of this in movies like \u003cem>Die Hard \u003c/em>(with the bare feet) and \u003cem>Speed \u003c/em>(when Keanu Reeves stabs the gas tank with the screwdriver), but in a film like \u003cem>Beckett\u003c/em>, it’s the whole story. This movie doesn’t actually have Beckett come down with scurvy and have him run over by the tuba section of a marching band on his way to a safe house that turns out to be haunted, but that’s only because there’s not time. Directed by Ferdinando Cito Filomarino, \u003cem>Beckett \u003c/em>is a movie about a guy who cannot catch a break—unless it’s a break of his own arm.\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/EPT_PNucTWE'\n title='//www.youtube.com/embed/EPT_PNucTWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Washington plays Beckett (just Beckett), an American on vacation in Greece with his girlfriend (played by Alicia Vikander, but don’t get too excited, because it’s a small role). They get in a terrible car accident, and once Beckett gets out of the hospital, he realizes that people are chasing him, and they are shooting at him, and he has no idea who they are or why they’re doing all this. One can certainly understand how it would be unsettling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The police quickly prove untrustworthy, so Beckett gets it in his head that what he needs to do is get to the U.S. Embassy in Athens. It’s important to set this goal, because one of the problems with on-the-run movies is always the question of where the on-the-run person is trying to get to, and what they think they’re going to do when they arrive. Every obstacle course needs a finish line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regrettably, \u003cem>Beckett \u003c/em>does run into the same problem as a lot of films with fun beginnings shrouded in mystery: It has to eventually answer the question of what the heck is going on. What they’re going for here is (as critic Walter Chaw noted when we spoke about the film this week for Pop Culture Happy Hour) is the feeling of a larger conspiracy clamping down on Beckett, like you’d find in a 1970s paranoid thriller. But here, the more the film reveals about those menacing forces, the more it gets bogged down in a lot of only halfway considered material about Greek politics and American diplomacy. The final action set piece is fully ridiculous and poorly paced, particularly in contrast to the fairly straightforward chases of what happens earlier on, and by the end, the idea of Beckett as an everyman has been discarded in favor of the idea of Beckett as a superhero who manages some highly, highly unlikely feats of physics that the Beckett of a day or so earlier would never have even attempted.\u003c/p>\n\u003cp>The whole thing feels strangely conceived, and one hint about why might come from the press materials in which Filomarino says that what inspired this movie was other movies—other “manhunt” type films, only he wanted to try one where the protagonist was more of an ordinary person. It’s not unusual to be inspired by other kinds of storytelling, obviously—that’s the heart and soul of genre, and had they resisted the urge to make Beckett quite so bulletproof and quite so acrobatic, it might have paid off better.\u003c/p>\n\u003cp>But \u003cem>Beckett \u003c/em>feels like perhaps the central story is underbaked because it originated not with an idea about a person, but with an idea about film, and then the task of building the story itself wasn’t quite finished with the polish it needed. That might explain, too, the oddly inert supporting characters: Vicky Krieps shows up in an underdeveloped role as a local activist, for instance, and it’s hard not to wish she had a lot more to do.\u003c/p>\n\u003cp>This kind of movie makes me think, I admit, of \u003cem>The Great British Baking Show\u003c/em>. Sometimes, someone will make, say, a lemon cake. The the judges eat it and they announce, basically, “It’s fine. I don’t know that it’s great, or that it’s very exciting, but it’s fine.” This is not quite a ringing endorsement in the middle of a competition, but in fairness, what the person has made is still a lemon cake. And if you were in the mood for a lemon cake, then the fact that it’s not the best lemon cake you’ve ever had may be something you would not focus on, were it sitting in front of you at home. “I believe I would eat that lemon cake” is a thought you may well find yourself having.\u003c/p>\n\u003cp>\u003cem>Beckett\u003c/em> is a bit of a lemon cake.\u003c/p>\n\u003cp>On the plus side, it benefits from beautiful scenery as Beckett runs around Greece, up city streets and over mountains. It benefits from Washington having quite a natural regular-guy presence, in which he often seems overwhelmed, especially at the beginning. And it benefits from the audacious pile-up of challenges with which Beckett is faced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it could certainly be much better were it a tighter story with a more efficiently built puzzle at its center. There is a big difference, after all, between being able to \u003cem>forgive\u003c/em> the flaws in a movie because it meets the basic requirements of its category and thinking there is \u003cem>no meaningful distinction\u003c/em> between a good and bad movie like this, simply because it belongs to the popular genre known as the action thriller.\u003c/p>\n\u003cp>It could be a lot better. It could be a lot stronger as it approaches the finish. But there’s something to be said for watching a guy hide in a car trunk and think, “For him, this is probably the best part of his day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel is Linda Holmes and Walter Chaw. The audio was produced and edited by Mike Katzif.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beckett%27+Is+A+Perfectly+Average+Chase+Thriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A TV Guide For Your Weekend Watching",
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"content": "\u003cp>The second week of the Olympics had us \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/05/1024994162/equestrian-dressage-composer-music-dancing-charlotte-dujardin\" target=\"_blank\" rel=\"noopener noreferrer\">watching horses\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/03/1024169459/greece-olympic-synchronized-swimming-team-out-positive-covid-tests\" target=\"_blank\" rel=\"noopener noreferrer\">swimmers\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/04/1024774505/olympic-runners-are-fast-on-tokyos-fast-track-theyre-shattering-world-records\" target=\"_blank\" rel=\"noopener noreferrer\">runners,\u003c/a> and we wouldn’t trade them for anything. But as we head into \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the final weekend of all that,\u003c/a> we’ve got plenty of other entertainment on tap for the first weekend of August.\u003c/p>\n\u003ch3>What to watch\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Making The Cut,\u003c/strong>\u003c/em> \u003ca href=\"https://www.amazon.com/gp/video/detail/B096MZ26GY/ref=atv_dp_season_select_s2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Amazon Prime\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wHmdfVjAYnQ\u003c/p>\n\u003cp>This is \u003cem>Project Runway\u003c/em> without the stuff you fast forward through. This is much more a show about design than simply assembly. The designers, most of whom already have their own clothing lines, get teams of seamstresses to do the actual assembling. But the designers never get to meet their teams and have to leave incredibly detailed instructions on how to finish their garments overnight. When they come back into the workroom the next day, they see how well they’ve communicated their intent. It’s a very clever way of showcasing the designers’ management skills or lack of the same. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>RuPaul’s Drag Race All Stars, \u003c/strong>\u003c/em>\u003ca href=\"https://www.paramountplus.com/shows/rupauls-drag-race-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Paramount+\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5SbGFdhVwZo\u003c/p>\n\u003cp>\u003cem>All Stars\u003c/em> is always fun because people are coming back with a knowledge of having been a part of it and having grown. When the cast for season six of \u003cem>All Stars\u003c/em> was announced, there were a lot of mixed reactions. Half the cast is true fan favorites and the other half are former contestants that people were less aware off. But after some really rough seasons from the franchise, it’s really good to have the show kind of find a good footing again. There hasn’t been a clear frontrunner this season, which has been fun. I’m enjoying it instead of being frustrated by it.\u003cem> — \u003c/em>\u003ca href=\"https://twitter.com/RunDMR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daisy Rosario\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Twilight Saga,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/70206632\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cR9_rDSxxFg\u003c/p>\n\u003cp>I want to talk about \u003cem>Twilight Breaking Dawn: Part 2\u003c/em>. I’m not necessarily interested in \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Bella and Edward,\u003c/a> but the rest of the world, I’m really interested in. Watching this movie, I realized the one thing I love about the \u003cem>Twilight\u003c/em> movies is the werewolves. I love the werewolves. I don’t think there’s enough of them. I think they could be a franchise on their own. In \u003cem>Breaking Dawn: Part 2,\u003c/em> they started building out the world of all these other vampires in Egypt, Japan and other parts of the globe. Sitting there, I was just like, “Man, this would make a great series.” I wish somebody would come back and make a gritty reboot of just the werewolves, just the world-building of \u003cem>Twilight\u003c/em>. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/OhitsBIGRON\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ronald Young Jr.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reservation Dogs,\u003c/strong>\u003c/em> \u003ca href=\"https://www.hulu.com/series/reservation-dogs-5a310c23-e2db-4c9f-a66c-27c2fee43d92\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hulu on FX\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RoHewFAkrWU\u003c/p>\n\u003cp>Starting Monday, you’ll be able to check out the new comedy series \u003ca href=\"https://www.fxnetworks.com/shows/reservation-dogs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Reservation Dogs \u003c/em>\u003c/strong>on Hulu\u003c/a> in the FX section. It’s a terrific show about a group of \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous kids in Oklahoma,\u003c/a> and I think you’ll be utterly charmed by its laid-back, super-chill vibe. We’ll also be talking about it on \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast\u003c/a> soon. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Untold,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/81026439\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3IgmCgeMNo\u003c/p>\n\u003cp>Starting on Tuesday, Netflix will be releasing installments of the sports documentary series \u003cstrong>\u003cem>Untold\u003c/em>\u003c/strong>, the first of which is called \u003ca href=\"https://www.si.com/extra-mustard/2021/08/04/netflix-trailer-malice-at-the-palace\" target=\"_blank\" rel=\"noopener noreferrer\">“Malice at the Palace”\u003c/a> and retells the tale of the 2004 NBA brawl in Detroit when Pacers player Metta World Peace, then known as Ron Artest, went into the stands and brawled with a spectator after being pelted with garbage by a Pistons “fan.” It’s less that this documentary uncovers massive new facts than it tries to contextualize that night and the consequences that came to the players—and the lack of consequences that came to pass for most of the fans. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>What to listen to\u003c/h3>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Household Faces\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The fine comic actor John Ross Bowie has a new podcast coming out on August 10 called \u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Household Faces\u003c/em>\u003c/strong>\u003c/a>, in which he interviews character actors (of which he is one). I haven’t heard it yet, but I’ve already subscribed. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Gene and Roger, \u003c/strong>\u003ca href=\"https://www.theringer.com/gene-and-roger-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Ringer\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>This is an eight-part podcast looking at how \u003ca href=\"https://www.nytimes.com/1999/02/21/nyregion/gene-siskel-half-of-a-famed-movie-review-team-dies-at-53.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gene Siskel\u003c/a> and \u003ca href=\"https://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Ebert\u003c/a> really transformed and popularized film criticism. There’s lots of investigation into their relationship. It’s the product of \u003ca href=\"https://www.brianraftery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Raftery,\u003c/a> the same guy who wrote the book \u003ca href=\"https://www.simonandschuster.com/books/Best-Movie-Year-Ever/Brian-Raftery/9781501175404\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Best. Movie. Year. Ever.,\u003c/em>\u003c/a> about the films of 1999.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the podcast, Raftery looks at the ways studios changed their marketing and how thumbs up, thumbs down became this kind of nationally recognized bellwether of a film’s commercial prospects. Whether or not you are old enough to remember seeing Siskel and Ebert on television, this is a fascinating series. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/ctklimek\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chris Klimek\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second week of the Olympics had us \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/05/1024994162/equestrian-dressage-composer-music-dancing-charlotte-dujardin\" target=\"_blank\" rel=\"noopener noreferrer\">watching horses\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/03/1024169459/greece-olympic-synchronized-swimming-team-out-positive-covid-tests\" target=\"_blank\" rel=\"noopener noreferrer\">swimmers\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/04/1024774505/olympic-runners-are-fast-on-tokyos-fast-track-theyre-shattering-world-records\" target=\"_blank\" rel=\"noopener noreferrer\">runners,\u003c/a> and we wouldn’t trade them for anything. But as we head into \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the final weekend of all that,\u003c/a> we’ve got plenty of other entertainment on tap for the first weekend of August.\u003c/p>\n\u003ch3>What to watch\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Making The Cut,\u003c/strong>\u003c/em> \u003ca href=\"https://www.amazon.com/gp/video/detail/B096MZ26GY/ref=atv_dp_season_select_s2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Amazon Prime\u003c/strong>\u003c/a>\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/wHmdfVjAYnQ'\n title='//www.youtube.com/embed/wHmdfVjAYnQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is \u003cem>Project Runway\u003c/em> without the stuff you fast forward through. This is much more a show about design than simply assembly. The designers, most of whom already have their own clothing lines, get teams of seamstresses to do the actual assembling. But the designers never get to meet their teams and have to leave incredibly detailed instructions on how to finish their garments overnight. When they come back into the workroom the next day, they see how well they’ve communicated their intent. It’s a very clever way of showcasing the designers’ management skills or lack of the same. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>RuPaul’s Drag Race All Stars, \u003c/strong>\u003c/em>\u003ca href=\"https://www.paramountplus.com/shows/rupauls-drag-race-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Paramount+\u003c/strong>\u003c/a>\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/5SbGFdhVwZo'\n title='//www.youtube.com/embed/5SbGFdhVwZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>All Stars\u003c/em> is always fun because people are coming back with a knowledge of having been a part of it and having grown. When the cast for season six of \u003cem>All Stars\u003c/em> was announced, there were a lot of mixed reactions. Half the cast is true fan favorites and the other half are former contestants that people were less aware off. But after some really rough seasons from the franchise, it’s really good to have the show kind of find a good footing again. There hasn’t been a clear frontrunner this season, which has been fun. I’m enjoying it instead of being frustrated by it.\u003cem> — \u003c/em>\u003ca href=\"https://twitter.com/RunDMR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daisy Rosario\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Twilight Saga,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/70206632\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\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/cR9_rDSxxFg'\n title='//www.youtube.com/embed/cR9_rDSxxFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I want to talk about \u003cem>Twilight Breaking Dawn: Part 2\u003c/em>. I’m not necessarily interested in \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Bella and Edward,\u003c/a> but the rest of the world, I’m really interested in. Watching this movie, I realized the one thing I love about the \u003cem>Twilight\u003c/em> movies is the werewolves. I love the werewolves. I don’t think there’s enough of them. I think they could be a franchise on their own. In \u003cem>Breaking Dawn: Part 2,\u003c/em> they started building out the world of all these other vampires in Egypt, Japan and other parts of the globe. Sitting there, I was just like, “Man, this would make a great series.” I wish somebody would come back and make a gritty reboot of just the werewolves, just the world-building of \u003cem>Twilight\u003c/em>. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/OhitsBIGRON\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ronald Young Jr.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reservation Dogs,\u003c/strong>\u003c/em> \u003ca href=\"https://www.hulu.com/series/reservation-dogs-5a310c23-e2db-4c9f-a66c-27c2fee43d92\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hulu on FX\u003c/strong>\u003c/a>\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/RoHewFAkrWU'\n title='//www.youtube.com/embed/RoHewFAkrWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting Monday, you’ll be able to check out the new comedy series \u003ca href=\"https://www.fxnetworks.com/shows/reservation-dogs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Reservation Dogs \u003c/em>\u003c/strong>on Hulu\u003c/a> in the FX section. It’s a terrific show about a group of \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous kids in Oklahoma,\u003c/a> and I think you’ll be utterly charmed by its laid-back, super-chill vibe. We’ll also be talking about it on \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast\u003c/a> soon. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Untold,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/81026439\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\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/j3IgmCgeMNo'\n title='//www.youtube.com/embed/j3IgmCgeMNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting on Tuesday, Netflix will be releasing installments of the sports documentary series \u003cstrong>\u003cem>Untold\u003c/em>\u003c/strong>, the first of which is called \u003ca href=\"https://www.si.com/extra-mustard/2021/08/04/netflix-trailer-malice-at-the-palace\" target=\"_blank\" rel=\"noopener noreferrer\">“Malice at the Palace”\u003c/a> and retells the tale of the 2004 NBA brawl in Detroit when Pacers player Metta World Peace, then known as Ron Artest, went into the stands and brawled with a spectator after being pelted with garbage by a Pistons “fan.” It’s less that this documentary uncovers massive new facts than it tries to contextualize that night and the consequences that came to the players—and the lack of consequences that came to pass for most of the fans. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>What to listen to\u003c/h3>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Household Faces\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The fine comic actor John Ross Bowie has a new podcast coming out on August 10 called \u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Household Faces\u003c/em>\u003c/strong>\u003c/a>, in which he interviews character actors (of which he is one). I haven’t heard it yet, but I’ve already subscribed. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Gene and Roger, \u003c/strong>\u003ca href=\"https://www.theringer.com/gene-and-roger-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Ringer\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>This is an eight-part podcast looking at how \u003ca href=\"https://www.nytimes.com/1999/02/21/nyregion/gene-siskel-half-of-a-famed-movie-review-team-dies-at-53.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gene Siskel\u003c/a> and \u003ca href=\"https://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Ebert\u003c/a> really transformed and popularized film criticism. There’s lots of investigation into their relationship. It’s the product of \u003ca href=\"https://www.brianraftery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Raftery,\u003c/a> the same guy who wrote the book \u003ca href=\"https://www.simonandschuster.com/books/Best-Movie-Year-Ever/Brian-Raftery/9781501175404\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Best. Movie. Year. Ever.,\u003c/em>\u003c/a> about the films of 1999.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the podcast, Raftery looks at the ways studios changed their marketing and how thumbs up, thumbs down became this kind of nationally recognized bellwether of a film’s commercial prospects. Whether or not you are old enough to remember seeing Siskel and Ebert on television, this is a fascinating series. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/ctklimek\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chris Klimek\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading",
"headTitle": "What’s Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading | KQED",
"content": "\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x580mowu5Gs\u003c/p>\n\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpE4893PxqE\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQuf18ajNIr/\u003c/p>\n\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oCUFC-ULdOk\u003c/p>\n\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBPzxmxf9ig\u003c/p>\n\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\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/x580mowu5Gs'\n title='//www.youtube.com/embed/x580mowu5Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\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/QpE4893PxqE'\n title='//www.youtube.com/embed/QpE4893PxqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\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/oCUFC-ULdOk'\n title='//www.youtube.com/embed/oCUFC-ULdOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\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/MBPzxmxf9ig'\n title='//www.youtube.com/embed/MBPzxmxf9ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes, a trailer drops that instantly catches the attention of one’s Twitter feed, and I started seeing discussions of \u003cem>Sexy Beasts \u003c/em>as soon as Netflix put the spot out there. And that makes sense, since it opens with a scene where a woman wearing a panda head talks to a man made up to look like a bull with Carrot Top’s hair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJO5m6EFL6A\u003c/p>\n\u003cp>The woman with the panda head is concerned about whether Bull Who Is Also Carrot Top has health insurance. “Could you fall in love with someone based on personality alone?” asks the narrator, as we watch scenes of people who can see every part of each other’s bodies except for their heads.\u003c/p>\n\u003cp>“Ass first, personality second,” says a man dressed as, I’m going to say, a beaver (I’m so sorry) as he neatly renders the show pointless, given that the costumes do not obscure either the ass or the personality, meaning he can continue to prioritize them exactly as he did before.\u003c/p>\n\u003cp>You should not think that because this is a show in which everyone is dressed like a scarecrow or a dolphin (I think she’s a dolphin?) or a devil, that the people don’t have real feelings. “This is going to be really hard for me,” says the dolphin, presumably before she breaks the heart of … who knows, an owl or a mongoose or Frankenstein’s monster. (I want to stress that if you are a person who likes to dress up like an owl or Frankenstein’s monster as part of your chosen romantic life, this has nothing to do with you. This has to do with replacing your head with a bunny’s head as part of a bizarre experiment to see whether someone would still kiss you if you had a bunny’s head.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, look. Not to torpedo the logic of a show where a panda goes on an axe-throwing date, but all these people are hot! If you want to find out whether hot people can fall in love while not being able to see each other’s heads, attend any Halloween party with high-quality masks. (There was a similar issue with \u003cem>Love is Blind, \u003c/em>a Netflix show from last year where attractive people flirted from separate rooms.) Has Netflix simply reinvented the elite masquerade ball? These are all conventionally attractive people (because you eventually do see them) who would do very well on a dating app called Eh, Personalities Are Overrated. They were all doing fine, most likely, in our regular world in which we all go out with our own heads on.\u003c/p>\n\u003cp>That said, I’m rooting for the dolphin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sexy Beasts arrives on Netflix on July 21. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sexy+Beasts%27+Is+Coming+To+Netflix%2C+And+We+Have+...+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, a trailer drops that instantly catches the attention of one’s Twitter feed, and I started seeing discussions of \u003cem>Sexy Beasts \u003c/em>as soon as Netflix put the spot out there. And that makes sense, since it opens with a scene where a woman wearing a panda head talks to a man made up to look like a bull with Carrot Top’s hair.\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/IJO5m6EFL6A'\n title='//www.youtube.com/embed/IJO5m6EFL6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The woman with the panda head is concerned about whether Bull Who Is Also Carrot Top has health insurance. “Could you fall in love with someone based on personality alone?” asks the narrator, as we watch scenes of people who can see every part of each other’s bodies except for their heads.\u003c/p>\n\u003cp>“Ass first, personality second,” says a man dressed as, I’m going to say, a beaver (I’m so sorry) as he neatly renders the show pointless, given that the costumes do not obscure either the ass or the personality, meaning he can continue to prioritize them exactly as he did before.\u003c/p>\n\u003cp>You should not think that because this is a show in which everyone is dressed like a scarecrow or a dolphin (I think she’s a dolphin?) or a devil, that the people don’t have real feelings. “This is going to be really hard for me,” says the dolphin, presumably before she breaks the heart of … who knows, an owl or a mongoose or Frankenstein’s monster. (I want to stress that if you are a person who likes to dress up like an owl or Frankenstein’s monster as part of your chosen romantic life, this has nothing to do with you. This has to do with replacing your head with a bunny’s head as part of a bizarre experiment to see whether someone would still kiss you if you had a bunny’s head.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay, look. Not to torpedo the logic of a show where a panda goes on an axe-throwing date, but all these people are hot! If you want to find out whether hot people can fall in love while not being able to see each other’s heads, attend any Halloween party with high-quality masks. (There was a similar issue with \u003cem>Love is Blind, \u003c/em>a Netflix show from last year where attractive people flirted from separate rooms.) Has Netflix simply reinvented the elite masquerade ball? These are all conventionally attractive people (because you eventually do see them) who would do very well on a dating app called Eh, Personalities Are Overrated. They were all doing fine, most likely, in our regular world in which we all go out with our own heads on.\u003c/p>\n\u003cp>That said, I’m rooting for the dolphin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sexy Beasts arrives on Netflix on July 21. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sexy+Beasts%27+Is+Coming+To+Netflix%2C+And+We+Have+...+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
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"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\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/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck",
"headTitle": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck | KQED",
"content": "\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=66CP-pq7Cx0\u003c/p>\n\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_105090']Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCAaonjgDEA\u003c/p>\n\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>[aside postid='pop_112098']One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>[aside postid='pop_103560']\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n",
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"excerpt": "The feminist classic turns 30 this month, but movies still haven't figured out how to liberate women without also punishing them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate 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/66CP-pq7Cx0'\n title='//www.youtube.com/embed/66CP-pq7Cx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\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/HCAaonjgDEA'\n title='//www.youtube.com/embed/HCAaonjgDEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\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/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New 'Master of None' Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable",
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"content": "\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>[aside postid='pop_98503']But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>[aside postid='arts_11204159']Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\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/BQqh6yZaRNI'\n title='//www.youtube.com/embed/BQqh6yZaRNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NBC Won't Air 2022 Golden Globes in Rebuke to Hollywood Foreign Press Association",
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"content": "\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>[aside postid='arts_13893446']“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>[aside postid='arts_13892207']“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grey's Anatomy' is in its 17th Season... But Are Today's Shows Built to Last?",
"headTitle": "‘Grey’s Anatomy’ is in its 17th Season… But Are Today’s Shows Built to Last? | KQED",
"content": "\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” [aside postid='arts_13893475']\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. [aside postid='arts_13895138']\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "'Grey's Anatomy' is in its 17th Season... But Are Today's Shows Built to Last?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c4LtoWQaLxk\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\u003c/p>\n\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/c4LtoWQaLxk'\n title='//www.youtube.com/embed/c4LtoWQaLxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MClMxqD-HNA\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” [aside postid='pop_8412']\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ord7gP151vk\u003c/p>\n\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 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/ord7gP151vk'\n title='//www.youtube.com/embed/ord7gP151vk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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